The 

Rise  and  Progress 

of 

Greek  and  Roman 
Art 


Library 
M.  F.  A. 
Boston 


i 


THE 

Rise  and  Progress 

OF 

Greek  and  Roman 
Art. 


PUBLISHED  BY 

A.  W.  Elson  &  Co., 

146  Oliver  Street,  Boston,  U.  S.  A. 
1899. 

Price  15  Cents. 


The  Rise  and  Progress  of  Greek 
and  Roman  Art. 


This  series  of  carbon  prints  has  been  especially  selected 
to  show  the  development  in  each  successive  period  of 
Greek  art;  for  use  in  art  museums,  libraries,  universities 
and  colleges,  high  and  normal  schools,  and  other  educa- 
tional institutions. 

The  illustrations  in  this  book  are  half  tones  copied 
from  the  large  carbons. 


Digitized  by  the  Internet  Archive 
in  2014 


https  ://arch  i  ve.  org/detai  Is/i  1 1  ustratedcatalOOtarb 


Illustrated  Catalogue  of  Carbon  Prints 


Greek  and  Roman 
Art. 


WITH  DESCRIPTIONS  BY 


PROF.  F.  B.  TARBELL,  of  the  University  of  Chicago, 


AND  AN  INTRODUCTION  BY 


T.  W.  HEERMANCE,  of  Yale  University. 


THIRD  EDITION. 


Tolman 
Reference 
Library 
M.  F.  A. 
Boston 


BOSTON,  U.  S.  A. 
A.  W.  ELSON  &  CO.,  Publishers, 
146  OLIVER  STREET, 
1899. 


ON 


Copyright,  1897,  1898,  and  1899, 
By  A.  W.  Elson  &  Co.,  Boston 


Press  of 

American  Printing  &  Engraving  Co. 
Boston 


PUBLISHERS'  NOTICE. 


ART  IN  THE  SCHOOLS. 

It  has  become  a  settled  fact  that  the  walls  of  schools  throughout  the 
United  States  are  to  be  used  for  art  educational  purposes.  It  is  the 
earnest  wish  of  every  one  to  see  that  in  this,  as  in  all  other  educational 
work,  the  end  sought  shall  be  reached,  and  that  vast  sums  of  money 
shall  not  be  uselessly  expended.  If  we  stop  to  consider  what  we  are 
really  aiming  to  do,  it  certainly  will  be  more  likely  that  we  shall  be 
satisfied  with  our  results  than  if  we  are  uncertain  and  indefinite  in  our 
plans. 

It  has  seemed  to  us  that  the  end  in  view  is  to  raise  the  public  appre- 
ciation of  the  best  in  art,  so  that  there  may  be  wise  judges  of  the  work 
of  those  who  are  following  art  as  a  profession,  encouraging  the  best, 
and  discriminating  between  the  products  of  the  genius  and  the  tyro. 

The  existence  of  such  a  fine,  discriminating  general  judgment  made 
possible  and  stimulated  the  art  life  of  Athens  in  the  age  of  Pericles,  and 
of  Florence  in  the  days  of  Michael  Angelo. 

If  we  are  to  have  a  finer  architecture,  finer  public  statues,  better  in- 
terior decoration,  it  can  only  be  brought  about  by  creating  a  general 
public  demand  for  it  and  appreciation  of  it.  This  can  be  done  largely 
by  reaching  those  who  are  in  a  formative  condition  —  the  school  chil- 
dren. 

The  aim  being  settled,  how  is  the  end  to  be  brought  about  ? 

In  the  study  of  art  the  historical  method  is  the  natural  one.  Appre- 
ciation of  art  cannot  be  cultivated  by  an  indiscriminate  hanging  side  by 
side  of  all  sorts  of  pictures  of  different  periods  and  schools  of  art,  having 
no  connection  with  each  other.  No  idea  is  conveyed  in  this  way  and 
nothing  can  be  taught.  Pictures  of  a  single  period  showing  its  rise 
and  development  should  be  hung  together. 

With  these  principles  as  our  foundation,  we  have  worked  to  produce 
a  series  of  pictures  for  Art  in  Schools,  illustrating  the  greatest  period 
in  art  the  world  has  ever  known.  The  series  is  entitled  "  The  Rise  and 
Progress  of  Greek  and  Roman  Art,"  and  is  fully  illustrated  in  this  cata- 
logue. Series  covering  other  periods  of  art  will  be  published  from  time 
to  time.  The  subjects  which  follow  have  been  carefully  selected,  and 
the  descriptions  written  by  Professor  Tarbell,  of  the  University  of 
Chicago.  The  introduction  is  by  T.  W.  Heermance  of  Yale  Univer- 
sity. 


5 


CONTENTS. 

Page. 

What  is  a  Carbon  Print  ?   7 

List  of  Subjects   8,  9 

Introduction  10-16 

Books  of  Reference  17-19 

Illustrations  and  Descriptions  20-99 

Prehistoric  Period  20-25 

Greek  Architecture   .    .    .    .  26-41 

Roman  Architecture  '."  .  42-45 

Greek  Sculpture 

Archaic   46-50 

Fifth  Century  51-73 

Fourth  Century  74-80 

Hellenistic  81-96 

Roman  Sculpture  97~99 

Prices  and  Ordering   102 


6 


WHAT  IS  A  CARBON  PRINT? 


Many  are  not  familiar  with  exactly  what  a  carbon  print  is.  We 
therefore  give  the  following  short  description,  that  all  who  receive 
this  catalogue  may  understand  the  character  of  the  work. 

A  carbon  print,  or  carbon  photograph,  both  terms  being  often 
used,  is  made  by  exposing  to  the  action  of  light  a  tissue  which  is 
composed  of  gelatine  mixed  with  finely  ground  particles  of  car- 
bon. A  negative  is  imposed  on  the  tissue,  in  the  same  manner  as 
it  is  in  making  a  silver-print,  or  photograph.  The  film  of  gelatine 
is  supported  by  a  backing  of  paper.  Before  exposing  under  the 
negative,  however,  the  gelatine  is  sensitized  by  washing  with  a 
solution  of  bichromate  of  potash  or  ammonia.  When  gelatine  is 
sensitized  in  this  way,  it  acquires  the  quality,  after  being  exposed 
to  the  action  of  light,  of  becoming  hard  and  more  or  less  insoluble 
in  water,  and  acquires  this  quality  in  different  degrees,  according 
to  the  amount  of  light  which  has  been  allowed  to  strike  upon  the 
surface  of  the  gelatine. 

If,  therefore,  we  expose  the  gelatine,  or  carbon  tissue,  under  a  neg- 
ative, it  will  have  been  acted  upon  by  the  light  in  different  degrees 
in  the  various  parts,  in  accordance  with  the  modeling  of  the  nega- 
tive. In  other  words,  where  the  negative  is  dense  (the  high  lights 
of  the  picture),  little  or  no  light  will  have  passed  through  the 
negative  and  reached  the  carbon  tissue  beneath.  Where  the  glass 
is  clear  or  nearly  so  in  the  negative  (the  shadows  of  the  picture), 
the  light  has  been  obstructed  in  no  way  and  has  fallen  directly 
upon  the  tissue.  In  the  half-tones  between  the  extreme  shadows 
and  the  high  lights,  the  light  will  have  passed  through  the  nega- 
tive in  varying  amounts,  according  to  the  strength  of  the  tone. 

After  a  proper  exposure  under  the  negative,  the  tissue  is  re- 
moved and  plunged  into  warm  water.  The  result  of  this  is  that 
the  gelatine  will  dissolve  in  different  amounts,  leaving  different 
thicknesses  of  the  carbon  tissue  and  thereby  giving  a  modeling 
which  makes  the  picture.  After  the  soluble  gelatine  is  thoroughly 
washed  out,  no  further  action  of  any  kind  takes  place,  and  carbon 
prints,  therefore,  are  absolutely  fadeless,  because  the  material  of 
which  they  are  composed  is  chiefly  carbon  matter  on  which  light 
has  no  action  whatsoever,  and  therefore  cannot  change.  It  is  as 
permanent  as  an  engraving. 

By  this  method  it  is  possible  to  preserve  a  softness  and  all  of 
the  fine  gradations  of  tone  which  a  negative  possesses  with  a 
truthfulness  that  no  other  process  preserves. 


7 


LIST  OF  CARBON  PRINTS  IN 


"The  Rise  and  Progress  of  Greek  and 
Roman  Art." 

PUBLISHED  BY 

A.  W.  ELSON  &  CO.,  146  Oliver  Street,  Boston,  U.  S.  A. 

The  subjects  given  below  have  been  carefully  selected  by  Prof.  F. 
B.  Tarbell,  and  are  fadeless  carbon  prints  from  negatives  made 
directly  from  the  originals,  and  not  from  casts.  The  advantage  of  a 
carbon  print  over  all  others  is  :  — 

1st.  —  That  it  is  absolutely  fadeless. 

2d.  —  That  all  the  delicate  modeling  is  accurately  preserved,  it  being 
possible  in  carbon  printing  to  obtain  a  delicacy  and  subtlety  of  ?nodeling 
not  attainable  by  any  other  method. 

3d.  —  As  carbon  tissues  can  be  made  in  a  variety  of  colors  and  shades, 
the  one  best  suited  to  the  original  can  be  chosen. 

The  following  subjects  are  included  in  the  series,  nearly  all  of  them 
being  now  ready  for  delivery. 


PREHISTORIC  (1600  b.  c.  to  600  B.  a).  Page. 

South  End  of  Citadel  of  Tiryns   21 

Gallery  in  the  Eastern  Wall  of  Citadel  of  Tiryns   23 

Lion  Gate  of  Mycenae   25 

ARCHITECTURE.  Greek. 

The  Great  Temple  (so-called  Temple  of  Posidon)  at  Paestum     .  27 

The  Theseum,  Athens,  from  Southwest   29 

The  Parthenon,  Athens,  from  Southeast   31 

The  Propylaea,  Athens]   33 

The  Temple  of  Victory,  Athens   35 

The  Erechtheum,  Athens,  from  East   37 

The  Erechtheum,  from  Northwest   39 

Caryatid  (South)  Porch  of  the  Erechtheum   41 

Roman. 

The  "  Maison  Carree,"  Nimes,  France   100 

The  Colosseum,  Rome   43 

The  Arch  of  Constantine,  Rome   45 

GREEK  SCULPTURE.        Archaic  (600  b.  c.  to  480  b.  a). 

Grave  Stele  of  Aristion  (Athens,  National  Museum)    ....  47 

Archaic  Female  Figure  (Athens,  Acropolis  Museum)    ....  49 

The  Apollo  of  Tenea  (Munich,  Glyptothek)   50 

Fifth  Century  (480  b.  c.  to  400  b.  a). 

Dying  Warrior  from  ^Egina  Temple  (Munich,  Glyptothek)     .    .  51 

Harmodius  and  Aristogiton  (Naples  Museum)   53 

The  Discobolus,  after  Myron  (Rome,  Lancellotti  Palace),  in 
preparation. 

Apollo  from  West    Pediment  of  Temple  of   Zeus  Olympia 

(Olympia  Museum)  .    .   54 

8 


LIST  OF  CARBON  PRINTS.  9 

Theseus,  from  East  pediment  of  Parthenon  (British  Museum)   .  57 

Three  Fates  from  same  (British  Museum)   57 

Metope  from  Parthenon  (No.  307    in  Catalogue  of  British 

Museum)   59 

Metope  from  Parthenon    (No.  310   in  Catalogue  of  British 

Museum)   61 

Portion  of  Slab  of  the  East  Frieze  of  the  Parthenon  (Athens, 

Acropolis  Museum)   63 

Two  Slabs  of   the  North  Frieze  of  the  Parthenon  (British 

Museum)   65 

The  Velletri  Athena  (Paris,  Louvre)   67 

Doryphorus  (Naples  Museum)   69 

Wounded  Amazon  (Lansdowne  House,  London)   71 

Caryatid  from  South  Porch  of  the  Erechtheum  (British  Museum)  73 

Fourth  Century  to  the  Death  of  Alexander 

(400  b.  c.  to  323  B.  a). 

Hermes  of  Praxiteles  (Olympia  Museum)   75 

Slab  of  Mausoleum  Frieze  (British  Museum)   77 

Sarcophagus  of  the  Mourning  Women  (Constantinople  Museum)  79 

The  Rondanini  Alexander  (Munich,  Giyptothek)   80 

The"  Marble  Faun"  (Rome,  Capitoline  Museum),/;/ preparation. 

Hellenistic  Period  (323  b.  c.  to  100  b.  a). 

The  Borghese  Warrior  (Paris,  Louvre)   81 

The  Alexander  Sarcophagus  (Constantinople  Museum)     ...  83 

Aphrodite  of  Melos  (Paris,  Louvre)   85 

Otricoli  Zeus  (Rome,  Vatican)   87 

Apollo  Belvedere  (Rome,  Vatican)   89 

Victory  of  Samothrace  (Paris,  Louvre)   91 

Laocoon  (Rome,  Vatican)   ....    93 

The  Dying  Gaul  (Rome,  Capitoline  Museum),  in  preparation. 

Group  with  Zeus  from  Altar  of  Pergamon  (Berlin  Museum)  .    .  95 

Group  with  Athena  from  Altar  of  Pergamon  (Berlin  Museum)    .  95 

ROMAN  SCULPTURE  (100  b.  c.  to  300  a.  d  ). 

Portrait  of  Roman  Orator :  the  so-called  Germanicus  (Paris, 

Louvre)   97 

Augustus  from  Prima  Porta  (Rome,  Vatican)   99 

Relief  from  the  Arch  of  Titus  (Rome),  in  preparation. 


The  carbons  are  published  in  two  sizes,  and  mounted  on  heavy  card- 
board, as  follows  :  — 

Size  A.  About  20  x  32  inches  ;  mounting  board,  30  x  44 
Size  B.        „     17x24      „  „  „  24x30 

The  exact  sizes  vary  according  to  the  individual  subjects. 

For  Prices  and  Ordering,  see  page  102. 

At  time  of  going  to  press,  we  have  been  unable  to  secure  original  negatives  of 
the  Sarcophagus  of  the  Mourning  Women,  and  of  the  "  Alexander  "  Sarcophagus. 
These  two  subjects  are  reproduced  from  photographs,  and  are  the  only  two  in  the 
series  which  arc  not  from  original  negatives  in  our  possession. 


The  Rise  and  Progress  of  Greek  and 
Roman  Art. 


BY  T.  W.  HEERMANCE,  YALE  UNIVERSITY. 

To  cultivate  a  proper  appreciation  of  the  best  art  is  as  impor- 
tant as  the  acquirement  of  a  taste  for  the  best  literature,  and  in 
no  better  way  can  either  be  accomplished  than  by  the  study  of 
the  masterpieces,  whether  of  art  or  literature.  The  prime  reason 
why  we  feel  drawn  toward  Greek  art  is  because  it  appeals  to  our 
feeling  for  beauty,  and  satisfies  it.  It  is  this  all-pervading  beauty 
which  distinguishes  it  from  other  early  national  arts,  and  makes 
it  "  a  standard  for  all  time."  Not  mere  sensuous  beauty  is  it,  but 
that  attempered  by  intellectual  and  moral  qualities,  which  make 
it  noble  and  elevating  to  him  who  becomes  imbued  with  its 
spirit. 

Sculpture  is  the  most  important,  and  at  the  same  time  the  most 
perfect,  of  the  different  forms  in  which  Greek  art  found  expres- 
sion. It  has  had  the  greatest  influence  in  both  ancient  and 
modern  times.  Naturally,  therefore,  sculpture  is  placed  in  the 
foreground  of  any  general  study  of  Greek  art,  though  we  must 
not  forget  that  under  the  term  "  Greek  art  "  are  included  :  archi- 
tecture, which  often  depends  on  sculpture  to  adorn  it ;  painting, 
whose  loss  for  us  is  nearly  complete  ;  and  the  minor  branches  of 
engraved  gems,  coins,  decorative  metal  work,  and  jewelry. 

Marble  and  bronze  were  the  two  materials  most  used  for  Greek 
sculpture,  the  latter  being  much  more  in  use  than  we  would  be 
led  to  infer  from  the  number  of  bronze  statues  preserved.  The 
best  marble  for  statuary  came  from  the  island  of  Paros  and  from 
Mt.  Pentelicus,  in  Attica. 

The  Greeks  at  all  periods,  strange  as  it  seems  to  us,  applied 
paint  to  portions  of  both  their  architecture  and  their  sculpture. 
The  eyes,  eyebrows,  hair,  perhaps  the  lips,  and  certain  parts  of 
the  drapery,  particularly  to  indicate  a  pattern,  were  painted. 
Many  of  the  newly  discovered  statues  show  this  very  plainly. 


THE  RISE  AND  PROGRESS  OF  GREEK  AND  ROMAN  ART.        I  I 


The  original  Greek  sculpture,  which  has  escaped  the  destruc- 
tion of  centuries  of  greed  and  ignorance,  is  but  a  small  fraction  of 
what  once  existed.  The  sculpture  we  have  is  very  largely  made 
up  of  Roman  copies  and  adaptations  of  famous  earlier  works. 
It  is  part  of  the  task  of  the  student  to  compare  these  and  dis- 
cover the  traits  of  the  lost  originals. 

The  chief  uses  to  which  Greek  sculpture  was  put  are  the 
following:  (1)  Cult  images  of  the  gods  for  their  temples.  (2)  Dedi- 
catory offerings  in  or  near  temples,  most  frequently  representing 
the  god  worshiped,  or  the  person  who  made  the  dedication. 
Most  statues  of  victorious  athletes  were  dedicated  in  this  way. 
(3)  Grave  monuments,  usually  a  relief  representing  the  deceased 
alone  or  with  some  of  his  family.  (4)  Honorary  statues  of  dis- 
tinguished men.  (5)  In  the  decoration  of  temples  and  other 
public  buildings.  The  Doric  metopes  and  the  continuous  Ionic 
frieze  were  well  adapted  for  reliefs,  while  the  gables  were  filled 
with  elaborate  compositions  and  single  statues  (rarely  groups) 
often  placed  as  acroteria. 

PREHISTORIC  PERIOD.     (FROM  1600  B.  C.)  * 

During  the  last  twenty  years  much  has  been  learned  regarding 
the  Greek  prehistoric  epoch,  often  called  from  its  center  of 
activity  in  the  latter  centuries  (from  1600  b.  c),  the  Mycenaean 
period.  Its  study  is  exceedingly  fascinating,  but  so  few  links 
connect  it  with  the  historical  epoch  that  we  can  at  present  leave 
it  at  one  side  and  pass  on  to  what  more  immediately  concerns  us. 

ARCHAIC  PERIOD.     (600-480  B.  C.)  f 

It  is  hard  to  know  just  what  date  to  assign  to  the  beginning  of 
the  archaic  period  in  Greek  art.  Nothing  that  has  come  down  to 
us  can  be  called  older  than  600  b.  c.  Rough  as  the  sculptures 
of  this  period  are,  they  are  far  removed  from  the  first  attempts  in 
art ;  the  real  beginnings  are  further  back  still. 

Many  of  the  works  of  the  archaic  period  have  in  them  little  to 
attract,  but  others  are  charming  in  their  naivete,  and  in  them  we 
can  detect  many  signs  of  promise. 

Some  of  the  defects  in  archaic  statuary  are  the  general  stiffness 

*  Examples  from  this  period  are  given  on  pages  20,  22,  and  24. 
t  Typical  works  of  this  period  are  illustrated  on  pages  46  and  48. 


12       THE  RISE  AND  PROGRESS  OF  GREEK  AND  ROMAN  ART. 

of  pose,  inability  to  render  drapery  otherwise  than  as  a  sort  of 
metallic  envelope,  and  ignorance  of  anatomy,  making  the  hips  too 
narrow  and  the  body  and  sides  too  flat.  The  eyeballs  protrude, 
the  cheek  bones  are  too  high,  the  chin  is  apt  to  be  over-promi- 
nent, the  ears  are  set  higher  than  they  should  be  (a  feature  only 
very  gradually  modified),  and  in  the  desire  to  give  expression  to 
the  face  the  mouth  is  curved  in  a  vacant  smile.  Yet  in  the 
finished  statues  there  is  the  greatest  care  displayed,  the  faults 
being  those  of  incapacity,  not  of  slovenliness,  and  this  care  is 
rewarded  by  the  very  rapid  progress  which  can  be  noted  in  this 
century. 

The  end  of  the  archaic  period  is  now  generally  put  at  480  b.  c, 
when  Athens  was  sacked  by  the  Persians  under  Xerxes.  For 
Athenian  work  this  date  is  of  the  most  value,  as  it  draws  a  sharp 
line  between  the  old  and  the  rebuilt  city  and  its  monuments.  In 
other  parts  of  Greece  the  division  at  this  date  is  less  sharp. 

FIFTH  CENTURY.     (480-400  B.  C.)  * 

After  the  Archaic  period,  and  extending  to  the  middle  of  the 
century,  comes  what  is  often  called  the  transitional  period,  in  which 
the  last  restraints  of  archaism  are  thrown  off,  and  the  artist  becomes 
full  master  over  his  material.  To  this  age  can  be  assigned  the 
Attic  group  of  the  tyrant  slayers  Harmodius  and  Aristogiton.  (See 
page  52.)  Here,  too,  belong  the  metopes  and  pediment  sculptures 
from  the  Zeus  temple  at  Olympia,  whose  finest  single  figure  has 
been  chosen  for  reproduction  in  this  series.  We  find  in  these  a 
conventional  treatment  of  drapery,  and  in  the  east  pediment  a 
stiffness  of  composition,  which  suggest  the  period  just  passed,  but 
the  archaic  smile  is  gone,  and  is  replaced  by  a  calm  dignity. 
Myron  was  the  most  renowned  artist  of  this  period. 

The  transitional  period  is  the  prelude  to  the  age  of  Pericles, 
that  of  the  greatest  literary  and  artistic  splendor  Athens  ever  knew. 

The  greatest  architectural  achievement  of  the  age  was  the 
Parthenon,  whose  sculptural  adornment  is  richer  than  that  on 
most  temples.  The  name  of  Phidias  will  always  remain  attached 
to  this,  though  we  cannot  state  what  share  belonged  to  him  either 
in  plan  or  in  execution.  Some  of  the  metopes  are  below  the  stan- 
dard of  the  rest  of  the  sculpture,  but  the  best  of  it,  including  the 

♦Typical  illustrations  of  this  period  will  be  found  on  pages  52  to  72. 


THE  RISE  AND  PROGRESS  OF  GREEK  AND  ROMAN  ART.        1 3 

pediment  groups,  is  so  uniform  in  style  and  so  fine  that  one  nat- 
urally attributes  it  to  Phidias  on  the  ground  of  his  known  con- 
nection with  Periclean  building  operations.  We  have  no  statement 
to  show  that  the  Athenians  ranked  the  sculptures  of  the  Parthe- 
non high  as  works  of  art,  they  probably  thought  of  them  simply 
as  part  of  the  temple.  It  is  because  we  have  lost  what  they  pos- 
sessed—  single  masterpieces  —  that  the  Parthenon  marbles  have 
acquired  a  significance  they  never  had  before. 

In  place  of  the  hardness  of  earlier  work  there  is  a  softness,  yet 
firmness,  of  modeling  which  well  reproduces  the  flesh  of  a  well- 
developed  man.  The  clinging  drapery  reveals  rather  than  con- 
ceals the  forms  beneath,  its  texture  perfectly  rendered,  and  every 
fold  studied  in  relation  to  all  the  others.  The  same  qualities  of 
restraint  and  sublimity  seen  in  the  literature  of  the  period  can  be 
detected  in  these  sculptures.  Both  are  intellectual  products, 
both  may  seem  to  a  careless  observer  cold  and  emotionless. 

To  the  same  general  building  period  as  the  Parthenon,  of 
which  Ictinus  was  the  architect,  belong  the  so-called  Theseum 
(page  28),  the  temple  of  Wingless  Victory  (page  34),  the  never 
completely  finished  Propylaea  (see  page  32),  and  the  somewhat 
later  Erechtheum  (see  page  36),  with  its  unsurpassed  delicate  archi- 
tectural details. 

Phidias  had  a  celebrated  contemporary  in  the  slightly  younger 
Polyclitus,  of  Argos.  His  best-known  work,  the  Doryphorus  (see 
page  68),  we  have  in  a  number  of  copies.  It  was  also  known  as 
the  Canon,  for  in  it  Polyclitus  embodied  his  ideas  as  to  the  cor- 
rect proportions  of  a  perfectly  developed  man.  One  of  the  several 
types  of  wounded  Amazons  also  can  claim  Polyclitus  as  its 
originator.    (See  page  70.) 

FOURTH  CENTURY.    (4OO-323  B.  C.)  * 

In  the  fourth  century  Athens  is  no  longer  the  political  head  in 
Greece,  though  still  the  intellectual  and  artistic  center.  But  art 
and  literature  are  not  what  they  were  before  the  Peloponnesian 
War,  and  both  have  experienced  the  same  changes.  From  now 
on  they  give  fuller  and  freer  expression  to  men's  passions  and 
emotions,  and  have  replaced  the  older  majesty  and  seriousness  by 
a  more  graceful  beauty  and  more  tender  sentiment.    The  old 

*  Typical  works  of  this  period  are  illustrated  on  pages  74,  76,  and  78. 


14        THE  RISE  AND  PROGRESS  OF  GREEK  AND  ROMAN  ART. 

faith  has  fallen  a  prey  to  scepticism,  and  in  consequence  the  gods 
are  represented  as  less  divine  and  more  human.  Art  no  longer 
depicts  types,  but  individuals  swayed  by  varying  moods,  which 
are  shown  in  the  faces,  no  longer  calm,  but  mobile  and  sensitive. 

Fourth  century  art  is  cosmopolitan ;  the  school  distinctions  of 
Attica  and  Argos  have  practically  broken  down,  and  one  set  of 
types  has  been,  evolved,  to  be  modified,  as  may  be,  by  the  styles 
of  individual  artists.  Only  three  sculptors  out  of  many  can  be 
selected  for  mention  here. 

The  first  is  Praxiteles,  who  has  acquired  a  new  interest  since 
the  discovery  at  Olympia  of  his  "  Hermes  with  the  infant  Diony- 
sus," the  finest  Greek  statue  we  possess  (see  page  74).  It  is  this 
statue  which  enables  us  to  judge  of  the  finish  attained  by  a  fourth- 
century  original. 

The  dreamy  joyousness  which  is  visible  in  much  of  the  work 
of  Praxiteles  is  a  contrast  to  the  qualities  which  Scopas,  his  con- 
temporary, displays.  Passion  and  energy  are  what  Scopas  excels 
in  depicting,  and  his  works  have  a  "  tragic  intensity  of  expression 
unknown  to  earlier  Greek  art."  This  is  got,  in  part,  from  a  pecul- 
iar and  characteristic  treatment  of  the  eye  and  the  adjacent  part 
of  the  face. 

Scopas,  perhaps  Praxiteles,  and  two  or  three  other  sculptors, 
were  employed  in  the  decoration  of  the  mausoleum  at  Halicar- 
nassus,  but  it  is  very  difficult  to  distribute  the  different  parts 
among  them.  The  finest  portion  of  the  Mausoleum  is  the  Ama- 
zon frieze  (see  page  76),  and  its  contrast  with  that  of  the  temple 
at  Bassae  can  be  seen  in  the  more  slender  figures  of  the  former, 
and  the  openness  of  the  composition.  This  is  also  to  be  noted 
in  other  fourth  century  work. 

Lysippus  of  Sicyon,  a  generation  after  Scopas  and  Praxiteles, 
was  the  author  of  a  new  canon  of  proportions,  departing  deliber- 
ately from  that  of  Polyclitus,  and  making  the  body  slenderer 
and  the  head  smaller,  and  suggesting  litheness  rather  than  mere 
strength  of  muscle. 

The  calling  of  Greek  artists  to  build  the  Mausoleum  showed 
that  Greek  culture  was  working  its  way  eastward,  and  thus  pay- 
ing back  what  it  had  received  from  the  East  in  such  large  measure 
hundreds  of  years  before.  The  truly  Greek  sarcophagi  recently 
discovered  at  Sidon  (see  illustrations  of  two  of  these,  pages  78 


THE  RISE  AND  PROGRESS  OF  GREEK  AND  ROMAN  ART.        I  5 

and  82),  of  various  dates,  are  a  part  of  this  same  movement, 
which  the  conquests  of  Alexander  only  accelerated. 

HELLENISTIC  PERIOD.     (323-IOO  B.  C.)  * 

Alexander's  death,  in  323  b.  c,  is  a  fitting  date  with  which  to 
begin  the  new  era,  when  the  artistic  supremacy  of  Greece  was 
transferred  to  Pergamum,  Ephesus,  Rhodes,  and  Alexandria,  where 
distinct  schools  of  art  sprang  up  under  the  patronage  of  the 
Diadochi.  The  date  of  the  close  of  the  period.  100  b.  c,  is  an 
approximate  figure. 

Art  in  the  Hellenistic  period,  still  less  than  in  the  fourth  century, 
was  the  handmaid  of  religion,  and  the  tendencies  of  that  age 
toward  realism  were  given  full  rein,  and  this  and  sensationalism 
predominate.  Variety  of  design  and  brilliancy  of  execution  were 
the  chief  ends  kept  in  view.  Children  were  now  for  the  first  time 
chosen  as  worthy  of  a  sculptor's  best  skill.  Genre  subjects,  like 
an  old  fisherman,  a  peasant  woman  carrying  a  lamb  to  market,  a 
tipsy  old  woman,  and  many  reliefs  frequently  representing  pas- 
toral scenes,  or  those  of  mythology,  both  with  elaborate  landscape 
backgrounds,  have  their  beginnings  in  this  period,  particularly  at 
Alexandria. 

Of  another  type  are  the  creations  of  the  school  of  Pergamum, 
which  came  into  prominence  in  the  second  half  of  the  third  cen- 
tury b.  c.  Among  the  specimens  we  have  of  its  work  is  the  Dying 
Gaul,  or  Galatian,  wrongly  known  as  the  Dying  Gladiator  (included 
in  this  series).  This  is  a  copy  of  one  of  a  group  set  up  by  Attalus  I. 
to  commemorate  his  victory  over  the  invading  barbarians. 

For  later  Pergamene  art  we  have  as  its  best  piece  the  immense 
frieze  of  the  great  altar  erected  at  Pergamum  by  Eumenes  II. 
(pages  94  and  96).  A  marvel  of  violent  and  tempestuous  motion 
and  complicated  design,  its  technique  is  wonderful,  and  their 
very  ability  tempts  the  artists  to  transgress  the  bounds  set  to 
proper  subjects  for  sculptural  representation. 

The  Rhodian  school  is  known  chiefly  for  the  group  of  Laocoon 
(see  page  92)  and  his  sons,  which  reflects  clearly  the  influence  of 
the  art  of  Pergamum. 

There  are  a  number  of  famous  single  statues  which  belong, 
some  probably  and  others  certainly,  to  this  Hellenistic  period, 

*  For  works  of  this  period  see  pages  82  to  96. 


1 6       THE  RISE  AND  PROGRESS  OF  GREEK  AND  ROMAN  ART. 

as  the  Victory  of  Samothrace  (see  page  90),  and  the  Aphrodite 
of  Melos  (page  84). 

ROMAN  PERIOD.     (lOO  B.  C.  to  300  A.  D.)  * 

After  the  Hellenistic  comes  the  Roman  period  of  Greek  art,  ex- 
tending to  about  300  A.  d.  Rome  herself  has  little  native  art  to 
boast  of.  In  early  times  the  Etruscans,  gradually  becoming  in- 
fluenced by  Greek  art,  supplied  Roman  demands.  Then  Greek 
art  itself  came  into  vogue  and  Greece  was  robbed  repeatedly  of 
its  art  treasures,  while  Greek  workmen  manufactured  thousands 
of  statues  to  meet  the  call  for  them  on  the  part  of  wealthy 
Romans  who  wished  to  adorn  their  villas  and  palaces.  Not  only 
at  Rome,  but  throughout  North  Italy  and  beyond  the  Alps  as  well, 
was  this  taste  for  Greek  art  prevalent.  It  is  from  this  period 
that  most  of  our  extant  Greek  sculpture  dates,  much  of  it  of  very 
mediocre  execution,  mechanical,  and  lacking  the  vitality  of  original 
work,  though  the  anatomy  may  be  perfectly  correct.  At  times 
there  seems  to  have  been  a  reaction  in  favor  of  what  was  old,  and 
the  archaistic  statues  of  our  museums  were  called  forth  by  this 
movement.  It  is  a  period  of  decadence  in  art  in  that  it  produced 
little  that  was  new,  and  confined  itself  so  largely  to  copying 
earlier  works. 

Perhaps  the  best  work  was  done  in  the  line  of  portraiture,  as 
is  clearly  shown  by  the  two  subjects  chosen  —  the  Augustus  (see 
page  98),  and  the  Roman  Orator.  The  reliefs  on  the  columns  of 
Trajan,  on  that  of  Marcus  Aurelius,  on  the  arches  of  Titus,  Sep- 
timus Severus,  of  Constantine  (see  page  44)  are  more  distinctly 
Roman  than  most  single  pieces  of  sculpture.  Their  value,  how- 
ever, is  more  historical  than  artistic,  and  they  have  been  compared 
to  the  reliefs  of  Egypt  and  Assyria  for  their  pictorial  nature  and 
lack  of  sculptural  qualities. 

Such  is  the  barest  outline  of  the  rise  and  progress  of  Greek 
art.  Those  who  pursue  its  study  will  find  that  their  labor  is  not 
without  its  reward.  The  whole  tendency  of  the  study  of  Greek 
art  is  exerted  toward  a  broader  culture,  a  nobler  conception  of 
art,  and  a  deeper  sympathy  with  beauty  in  all  its  aspects. 

*  Examples  of  Roman  architecture  are  shown  on  pages  42  and  44.  A  typical  example 
of  the  sculpture  of  this  period  is  illustrated  on  page  98. 


List  of  Books  on  Greek  Art. 


Note.  —  In  the  case  of  books  translated  into  English  the  translation  alone  is 
referred  to. 

I.  General  Works. 

A.  Baumeister  :  Denkmaler  des  klassischen  Altertums,  Munich,  Old- 
enbourg,  7885-/888.    3  vols. 
A  most  useful  and  trustworthy  cyclopaedia  of  ancient  architecture,  sculpture,  etc. 

M.  Collignon  :  Manual  of  Greek  Archaeology.    Translated  by  J.  H. 
Wright,  New  York,  1886. 
Brief,  but  good  for  all  branches  of  Greek  art. 

A.  S.  Murray  :  Handbook  of  Greek  Archaeology,  New  York,  1892. 

K.  Sittl:  Archaologie  der  Kunst  (Vol.  VI.  of  I.  Miiller's  Handbuch 
der  klassischen  Altertumswissenschaft),  Munich,  1895. 
The  latest  and  fullest  work  of  the  kind. 

F.  B.  Tarhell  :  History  of  Greek  Art,  Meadville,  1896. 

The  best  brief  history ;  particularly  good  for  sculpture ;  less  full  on  architecture  and 
painting. 

II.  Sculpture. 

H.  Brunn  :  Geschichte  der  griechischen  Kiinstler,  Braunschweig,  i8jj, 
1839,  reprinted  at  Stuttgart,  1889.    Vol.  I.  contains  the  sculptors. 
A  classic ;  though  old,  is  still  valuable  to  the  advanced  student. 

H.  Brunn  :  Griechische   Kunstgeschichte,  Book    1,  Munich,  1893. 
Book  2,  edited  after  Brunn's  death  by  A.  Flasch,  Munich,  1897. 

M.  Collignon  :  Histoire  de  la  sculpture  grecque,  Paris.    Vol.  I.> 
1892.    Vol.  II,  1897. 
Delightful  reading ;  clear  in  statement  and  well  illustrated. 

E.  A.  Gardner  :  Handbook  of  Greek  Sculpture,  London  and  New 
York.    Part  1,  1896.    Part  2,  1897. 
Most  recent  and  very  good  ;  neither  diffuse  nor  over-brief  ;  the  introduction  is  partic- 
ularly valuable. 

Mrs.  Lucy  M.  Mitchell  :  History  of  Ancient  Sculpture  (Students' 
edition),  New  York,  1883. 
In  parts  out  of  date,  but  interesting  and  full. 

17 


i8 


LIST  OF  BOOKS  ON  GREEK  ART. 


A.  S.  Murray  :  History  of  Greek  Sculpture,  London.  Second  edition, 
1890.    2  vols. 

J.  Overbeck  :  Geschichte  der  griechischen  Plastik,  Leipzig.  Fourth 
edition,  1893,  1893.    2  vols. 
Full  and  scholarly ;  the  standard  work  in  German. 

P.  Paris  :  Manual  of  Ancient  Sculpture.  Translated  and  augmented 
by  Miss  Harrison,  London  and  Philadelphia,  1890. 

W.  C.  Perry  :  Greek  and  Roman  Sculpture,  London,  1882. 
L.  E.  Upcott  :  Introduction  to  Greek  Sculpture,  Oxford,  188  j. 

Literary  Sources,  Catalogues,  etc. 
H.  Stuart  Jones  :  Select  Passages  from  Ancient  Authors  Illustrative 
of  the  History  of  Greek  Sculpture,  London,  1895. 
Briefer  than  the  following,  but  translates  the  passages  collected. 

J.  Overbeck  :  Die  antiken  Schriftquellen  zur  Geschichte  der  bilden- 
den  Kiinste,  Leipzig,  1868. 
Indispensable  to  the  advanced  student. 

E.  Loewy  :  Inschriften  griechischer  Bildhauer,  Leipzig,  1883. 
With  many  facsimiles. 

C.  Friedrichs  :  Gipsabgiisse  antiker  Bildwerke  :  Bausteine  zur  Ge- 
schichte der  griechischromischen  Plastik.  Revised  by  P.  Wolt- 
ers,  Berlin,  1885. 

The  catalogue  of  the  collection  of  casts  in  the  Berlin  Museum.  Is  equivalent  to  a 
full  history  of  Greek  sculpture  taken  piece  by  piece ;  with  full  bibliographies ;  very 
useful . 

E.  Robinson  :  Catalogue  of  Casts  of  Greek  and  Roman  Sculpture  in 
the  Museum  of  Fine  Arts,  Boston.    Revised  edition,  1896. 
Briefer  than  the  preceding,  but  excellent. 

W.  Helbig  :  Guide  to  the  Public  Collections  of  Classical  Antiquities 
in  Rome.  Translated  by  J.  F.  and  F.  Muirhead,  Leipzig,  189J, 
1896,    2  vols. 

So  many  important  statues  are  preserved  at  Rome  that  this  is  an  extremely  serviceable 
handbook. 

Books  on  Part  of  the  Subject. 

A.  Furtwangler  :  Masterpieces  of  Greek  Sculpture.    Translated  and 
edited  by  Miss  Sellers,  London  and  New  York,  1893. 
The  translation  is  practically  a  second  edition  of  the  original.    Brilliant  and  sugges- 
tive, but  not  a  book  for  beginners. 

C.  Waldstein  :  Essays  on  the  Art  of  Pheidias,  Cambridge  and  ATew 
York,  1885. 
Popularly  and  interestingly  written. 


LIST  OF  BOOKS  ON  GREEK  ART. 


19 


III.  Architecture. 

J.  Durm  :    Die  Baukunst  der  Griechen,  Darmstadt,    Second  edition, 
1892. 

F.  VON  Reber  :  History  of  Ancient  Art.    Translated  and  augmented 

by  J.  T.  Clarke,  New  York,  1882. 

IV.  Painting. 

P.  GlRARD  :  La  peinture  antique,  Paris,  1892. 

A.  Woltmann  and  K.  Woermann  :  History  of  Painting.    Edited  by 

Sidney  Colvin,  New  York,  1880.  Part  1  includes  Greek  paint- 
ing. 

V.  Ceramics. 

O.  Rayet  and  M.  Collignon  :  Histoire  de  la  ceramique  grecque, 
Paris,  1888. 

H.  von  Rohden  :  Article  Vasenkunde  in  Baumeister's  Denkmaler.  pp. 
i93f-2orr. 

An  excellent  outline. 

VI.  Numismatics. 

P.  Gardner  :  Types  of  Greek  Coins,  Cambridge,  1883. 

Treats  numismatics  in  relation  to  art  and  archaeology. 

B.  V.  Head  :  Historia  nummorum,  Oxford,  1887. 
Comprehensive  and  authoritative. 

VII.  Prehistoric  Period  in  Greece. 

G.  Perrot  and  C.  Chipiez:   Histoire  de  Part  dans  l'Antiquite, 

Tome  VI.,  La  Grece  primitive,  Paris,  1894. 
Especially  valuable  for  its  full  collection  of  material  and  illustrations ;  the  English 
translation  is  inaccurate. 

C.  Scuchhardt:    Schliemann's  Excavations.    Translated  by  Miss 

Sellers,  London,  189 1. 
A  good  summary  and  discussion. 

C.  Tsountas  AND  I.  Manatt  :  The  Mycenaean  Age,  Boston  and  New 
York,  189J. 
Up  to  date  ;  handsomely  published. 


20 


PREHISTORIC. 


21 


South  End  of  Citadel  of  Tiryns. 

SECOND  MILLENNIUM  B.  C. 

The  citadel,  or  acropolis,  of  Tiryns  occupies  a  long,  low  hill  in 
the  Argive  plain,  near  the  head  of  the  Gulf  of  Argolis.  This 
hill  is  highest  at  the  southern  end,  where  it  attains  an  elevation  of 
fifty-nine  feet  above  the  plain,  or  seventy-two  feet  above  the  sea 
level.  The  enclosing  wall  of  the  citadel  is  the  classic  example  of 
Cyclopean  masonry,  i.  e.,  masonry  constructed  of  huge,  irregular 
blocks,  not  accurately  fitted  together.  This  style  of  masonry  in 
Greece  is  always  early.  No  cement  was  used  to  bind  the  blocks 
together,  but  the  interstices  were  filled  with  small  stones  and  clay. 
The  openings  seen  in  the  nearer  portion  of  the  fortress  are  store 
chambers,  which  originally  were  embedded  in  the  thickness  of 
the  wall,  but  are  now  exposed,  owing  to  the  falling  down  of  the 
outer  blocks.  At  the  right  may  be  seen  the  end  of  a  gallery  con- 
necting a  similar  series  of  store  chambers.    (See  page  23.) 


22 


PREHISTORIC, 


23 


Gallery  in  Eastern  Wall  of  Citadel 
of  Tiryns. 

SECOND  MILLENNIUM  B.  C. 

This  gallery,  situated  in  the  thickness  of  the  citadel  wall  of 
Tiryns,  communicated  by  means  of  a  stairway  with  the  interior  of 
the  citadel  above,  and  served  to  render  accessible  a  series  of  six 
store  chambers,  the  doorway  into  one  of  which  may  be  seen  at 
the  right.  The  character  of  Cyclopean  masonry  may  be  dis- 
tinctly observed.  The  method  of  bridging  a  void  should  also  be 
noted.  The  stones  lie  on  approximately  horizontal  beds,  and  the 
upper  courses  are  pushed  further  and  further  inward  until  they 
meet.  This  is  not  a  genuine  vault,  but  is  sometimes  called  a  cor- 
belled vault. 


THE  LION  GATE  OF  MYCEN^. 


24 


PREHISTORIC. 


25 


The  Lion  Gate  of  Mycenae. 

LATTER  HALF  OF  SECOND  MILLENNIUM  B.  C. 

The  citadel  of  Mycenae  is  situated  in  Argolis,  on  a  spur  of  the 
mountains  which  shut  in  the  plain  of  Argos  on  the  north.  Our 
print  shows  the  principal  entrance  to  this  citadel.  The  wall  is 
constructed  of  blocks  of  breccia,  for  the  most  part  laid  in  Cyclo- 
pean fashion,  like  the  wall  of  Tiryns;  but  at  a  few  points,  as 
here  in  the  neighborhood  of  the  Lion  Gate,  the  blocks  of  the 
outer  face  are  approximately  rectangular,  and  are  laid  in  approx- 
imately horizontal  courses,  while  on  the  inner  face  the  masonry 
is  Cyclopean.  There  are  also  at  other  points  some  pieces  of  what 
is  called  polygonal  work,  in  which  the  blocks  are  of  irregular 
shapes,  but  are  fitted  with  close  joints.  This  work  also  is  limited 
to  the  outer  face,  and  it  is  thought  to  belong  to  comparatively 
late  repairs  of  the  fortress. 

The  gateway  is  formed  by  two  huge  stone  posts,  surmounted 
by  a  colossal  lintel,  about  fifteen  feet  long  by  seven  feet  thick  by 
three  and  a  half  feet  high  in  the  middle.  The  opening  was  orig- 
inally provided  with  heavy  gates.  Above  the  lintel  the  blocks 
of  the  wall  are  so  arranged  as  to  form  a  relieving  triangle,  and 
this  space  is  filled  by  a  comparatively  thin  slab  of  limestone,  on 
whose  outer  face  is  carved  a  relief.  Two  feline  creatures,  appar- 
ently lionesses  rather  than  lions,  front  each  other  in  heraldic 
fashion.  Their  fore  paws  rest  on  what  should,  perhaps,  be  called 
a  pair  of  altars.  Between  them  is  a  downward-tapering  column 
of  characteristic  Mycenaean  form,  surmounted  by  what  seems  to 
be  a  suggestion  of  a  timber  roof.  The  lionesses  are  modeled 
with  considerable  truth  to  nature.  Their  heads  were  made  of 
separate  pieces  and  attached,  but  are  now  missing ;  they  probably 
fronted  outward.  The  precise  significance  of  the  design  is  not 
known. 


26 


GREEK  ARCHITECTURE. 


27 


The  Great  Temple  of  Paestum. 

SIXTH  CENTURY  B.  C. 

Posidonia,  "  city  of  Posidon,"  called  Paestum  by  the  Romans, 
was  a  Greek  colony  in  Southern  Italy.  Its  ruins,  consisting  prin- 
cipally of  a  wall  of  fortification  and  three  Doric  temples,  are  sit- 
uated in  a  low,  marshy  tract,  bordering  on  the  Gulf  of  Salerno, 
southeast  of  Naples. 

Our  print  shows  the  largest  of  the  three  temples  (the  so-called 
Temple  of  Posidon).  This  building  shares  with  the  Theseum  in 
Athens  the  distinction  of  being  the  best-preserved  columnar  Greek 
edifice  in  existence.  The  material  of  which  it  is  built  is  a  coarse 
limestone,  which  was  covered  with  a  fine,  hard  stucco.  This 
stucco  has  mostly  disappeared,  and  the  limestone  has  taken  on  a 
rich  golden  tint.  The  columns  are  of  more  massive  proportions 
than  those  of  a  Doric  temple  of  the  fifth  century,  such  as  the 
Parthenon,  and  the  echinus  of  the  capitals  is  somewhat  mere 
widely  flaring.    The  view  is  taken  from  the  southeast. 


2i 


GREEK  ARCHITECTURE. 


29 


The  Theseum  from  the  Southwest. 

CIRCA  460  B.  C. 

This  most  perfectly  preserved  of  all  Greek  temples  is  situated 
on  the  end  of  a  low  hill  to  the  northwest  of  the  Acropolis  of 
Athens,  and  which  overlooks  to  the  east  what  was  the  ancient 
Agora,  or  market-place.  The  view  shows  the  temple  as  a  Doric 
peripteros  of  very  usual  proportions  —  six  columns  on  the  ends  and 
thirteen  on  the  sides  (counting,  as  always,  the  corner  columns  as 
belonging  equally  to  both  ends  and  sides).  The  lowest  of  the 
three  steps  is  of  ftoros,  the  two  upper  and  the  rest  of  the  building 
of  Pentelic  marble. 

Investigations  made  within  recent  years  have  established  as  a 
certainty  that  the  pediments  were  once  filled  with  sculpture,  and  a 
study  of  the  dowel  holes  and  other  indications  enable  conjectures 
to  be  made  as  to  the  composition  of  these  groups,  though  every 
fragment  of  them  has  perished.  The  extant  sculpture  of  the 
temple  is  much  mutilated,  and  consists  in  the  first  place  of  the  ten 
metopes  placed  on  the  east  —  the  front  —  end  and  of  the  four 
metopes  on  each  side  adjacent  to  this  east  front.  The  subjects 
represented  are  the  labors  of  Heracles  and  of  Theseus.  The  re- 
maining metopes  of  the  temple  were  perhaps  decorated  with 
painted  designs. 

There  are  also  two  continuous  (Ionic)  sculptured  friezes,  one  on 
each  end  of  the  cella.  The  frieze  on  the  east  is  longer  than  the 
width  of  the  cella,  and  reaches  across  on  either  side  to  the  archi- 
trave of  the  outer  columns  —  a  unique  feature.  The  exact  sub- 
ject of  this  frieze  has  caused  much  discussion.  In  general, 
however,  it  represents  a  combat  in  the  presence  of  the  deities. 
The  western  frieze  represents  the  battle  of  the  Lapiths  and 
Athenians  against  the  Centaurs. 

Though  the  name  "  Theseum,"  temple  of  Theseus,  will  prob- 
ably always  remain  attached  to  this  edifice,  it  is  almost  certainly 
an  incorrect  identification.  The  most  probable  of  the  numerous 
suggestions  is  that  which  makes  it  the  temple  of  Hephaestus,  per- 
haps associated  with  Athena.  In  the  early  Christian  centuries  the 
temple  was,  as  so  often  happened,  converted  into  a  church,  and 
was  dedicated  to  St.  George.  T.  W.  Heermance. 


GREEK  ARCHITECTURE. 


31 


The  Parthenon  from  the  Southeast. 

447-438  B.  C. 

The  Parthenon,  on  the  Athenian  acropolis,  was  dedicated  to 
Athena,  the  guardian  goddess  of  Athens.  It  is,  and  doubtless  always 
was,  the  most  perfect  example  of  the  Doric  style  of  temple  archi- 
tecture. Its  finer  perfections  can  be  appreciated  only  on  atten- 
tive study  of  the  original,  and  of  drawings  to  scale,  but  our  print 
conveys  some  impression  of  the  severe  and  noble  simplicity  and 
harmony  of  the  building. 

Phidias,  the  great  Athenian  sculptor,  is  said  to  have  had  a  gen- 
eral superintendence  of  all  the  artistic  works  executed  under 
Pericles.  The  architect  of  the  Parthenon  was  Ictinus,  assisted, 
according  to  one  account,  by  Callicrates.  Its  sculptured  decora- 
tion consisted  principally  of  two  pediment  groups,  ninety-two 
metopes  in  high  relief,  and  a  continuous  frieze  in  bas-relief. 

Having  been  converted  into  a  Christian  church,  and  later  into  a 
Mohammedan  mosque,  the  building  was  blown  up  by  an  explosion 
in  1687.  To  this  event  its  present  ruinous  condition  is  chiefly 
due. 

The  material  of  the  building  is  Pentelic  marble. 
A  general  view  of  the  Acropolis,  Athens,  will  be  found  on 
page  10 1. 


GREEK  ARCHITECTURE. 


33 


The  Propylaea  of  the  Athenian 
Acropolis. 

437-432  B.  C. 

Propylaea  is  the  ancient  Greek  name  for  an  elaborate  form  of 
gateway,  which  was  used  especially  as  an  entrance  to  a  sacred 
precinct.  The  most  important  example  of  the  kind  is  that  which 
gave  admission  to  the  Athenian  acropolis.  Our  view  is  taken 
from  outside  the  western  front  or  the  building,  looking  northeast. 

The  Propylaea  proper  have  this  form  :  — 


■  ■ 


W 

The  print  shows  four  of  the  Doric  columns  of  the  western 
hexastyle  front,  and  one  of  the  six  Ionic  columns  which  helped  to 
support  the  flat  ceiling.  The  central  passageway  was  for  quadru- 
peds, and  the  two  doorways  at  each  side  served  for  human 
beings  on  foot. 

Besides  the  Propylaea  proper,  this  building  has  wings  on  the 
north  and  south  sides.  The  north  wing  appears  in  our  print  on 
the  left. 

The  whole  edifice  was  designed  by  the  architect  Mnesicles.  It 
was  never  completely  carried  out  according  to  the  architect's  de- 
sign, partly  on  account  of  objections  made  to  the  plan,  and  partly 
on  account  of  the  interruption  occasioned  by  the  Peloponnesian 
War. 

The  chief  material  used  is  Pentelic  marble. 


GREEK  ARCHITECTURE. 


35 


The  Temple  of  Victory  from 
Northeast. 

SECOND  HALF  OF  FIFTH  CENTURY  B.  C. 

As  one  ascends  the  Acropolis  of  Athens,  just  before  the  Propy- 
laea  is  reached  there  appears  on  a  projecting  bastion  at  the  right 
this  beautiful  little  temple  dedicated  to  Athena  Victory.  Includ- 
ing the  porches  at  the  front  and  back,  it  covers  an  area  of  only 
eighteen  by  twenty-seven  feet.  Its  material  is  Pentelic  marble. 
The  columns  are  of  the  Ionic  order  and  form  a  porch  on  either 
end.  From  the  porch  on  the  east  (shown  in  the  print),  that  toward 
the  Propylaea,  one  gains  access  to  the  interior.  The  continuous 
sculptured  frieze  which  ran  around  the  temple  is  only  partially 
preserved.  Some  of  it  is  ///  situ  on  the  temple,  and  some  is  in  the 
British  Museum.  That  in  the  latter  place  is  replaced  on  the  tem- 
ple itself  by  a  cast,  which  in  the  print  shows  darker  than  the 
original  slabs.  The  frieze,  which  is  but  seventeen  and  one  half 
inches  high,  represents  a  scene  of  battle  waged  in  the  presence 
of  the  gods.  The  exact  date  of  the  temple  is  not  known  from 
literature,  and  no  absolute  information  can  be  drawn  from  the 
mutilated  sculpture  of  the  frieze.  It  belongs,  however,  to  the 
building  operations  of  the  age  of  Pericles. 

In  the  seventeenth  century  the  temple  was  still  standing,  then  it 
was  torn  down  and  the  material  used  by  the  Turks  for  the  construc- 
tion of  fortifications.  In  1835-36  these  were  destroyed  and  the 
temple  rebuilt  as  it  now  stands,  with  but  few  stones  missing  from 
the  lower  part. 

To  the  right  of  the  temple  is  visible  in  the  distance  Phalerum 
and  the  hill  of  Munychia,  beyond  which  is  the  Piraeus,  the  sea- 
port of  Athens. 

T.  W.  Heermance. 


36 


GREEK  ARCHITECTURE. 


37 


The  Erechtheum  from  the  East. 

CIRCA  415  B.  C. 

This  view  shows  the  eastern  or  principal  front  of  the  Erech- 
theum, as  well  as  the  north  and  south  porches.  The  missing  cor- 
ner column  of  the  front  was  removed  early  in  this  century,  by  the 
agents  of  Lord  Elgin,  and  is  now  in  the  British  Museum.  To 
the  left  of  the  temple  may  be  seen  the  inner  or  western  fagade  of 
the  Propylaea,  and,  beyond,  the  island  of  Salamis. 


38 


GREEK  ARCHITECTURE. 


39 


Erechtheum  from  the  Northwest. 

CIRCA  41 5  B.  C. 

The  name  "  Erechtheum  "  means  "  Temple  of  Erechtheus,"  but 
although  the  Attic  hero  of  that  name  was  worshiped  here,  other 
cults  also  were  carried  on  under  the  same  roof.  The  building,  of 
Pentelic  marble,  stands  on  the  summit  of  the  Athenian  acropolis, 
to  the  north  of  the  Parthenon.  It  is  known  to  have  been  nearly 
completed  before  409  b.  c.  It  must  not  be  regarded  as  a  typical 
Greek  temple  in  plan,  being,  in  fact,  of  unique  irregularity.  Of 
all  known  works  of  architecture  in  the  Ionic  style,  this  is  the  most 
exquisite.  The  proportions  of  the  members,  the  profiles  of  the 
moldings,  and  the  sculptured  ornaments,  all  are  of  the  utmost 
possible  refinement,  both  in  design  and  in  execution. 


4o 


GREEK  ARCHITECTURE. 


41 


South  Porch  of  Erechtheum. 

CIRCA  41 5  B.  C. 

For  the  general  facts  concerning  the  Erechtheum,  see  the  pre- 
ceding number.  The  south  porch,  or  porch  of  the  Caryatids,  has 
for  its  most  characteristic  feature  six  female  figures  —  maidens, 
as  they  are  called  in  a  contemporary  inscription  —  used  in  place 
of  columns.  The  three  maidens  nearest  the  west  end  of  the 
porch  rest  their  weight  chiefly  on  the  right  leg  ;  those  nearest  the 
east  end,  chiefly  on  the  left  leg.  Otherwise  all  six  are  closely 
similar  in  general  appearance,  but  there  are  numerous  differences 
in  detail,  showing  that  the  figures  were  not  executed  mechanically 
from  a  finished  model.  The  second  figure  from  the  nearer  corner 
is  a  terra-cotta  substitute  for  the  original,  removed  by  Lord  Elgin. 
(See  page  73.)  Furthermore,  some  modern  pieces,  easily  recogniz- 
able by  their  freshness  of  look,  have  been  inserted  in  the  high 
base  and  the  entablature. 


42 


ROMAN  ARCHITECTURE. 


43 


The  Colosseum. 

CIRCA  80  A.  D. 

This  building  is  situated  on  the  low  ground  between  the  Pala- 
tine and  Esquiline  hills  of  Rome.  Its  original  and  proper  name 
was  Amphitheatrum  Flavium,  the  Flavian  amphitheatre.  Begun 
by  the  Emperor  Vespasian,  it  was  opened  for  use  by  his  son  and 
successor,  Titus,  in  80  A.  d.  The  upper  story,  which  seems  to 
have  been  originally  of  wood,  was  destroyed  by  fire  in  217,  and 
soon  rebuilt  in  stone.  The  name  "  Colosseum  "  or  "  Coliseum  "  can 
be  traced  as  far  back  as  the  eighth  century. 

The  amphitheatre  was  a  peculiarly  Roman  type  of  building, 
designed  for  gladiatorial  contests,  and  contests  of  wild  beasts  with 
one  another  and  with  men.  The  Colosseum  is  the  largest  example 
of  the  kind;  it  is  said  to  have  afforded  seats  for  eighty-seven 
thousand  spectators.  The  exterior  is  divided  into  four  stories, 
three  of  them  with  open  arches  and  engaged  columns,  Tuscan  in 
the  lowest  story,  Ionic  in  the  second,  and  Corinthian  in  the  third; 
above  comes  a  closed  story  with  Corinthian  pilasters.  The  archi- 
tectural details  are  poor.  The  merits  of  the  building  lie  in  the 
skilful  adaptation  to  practical  requirements,  especially  in  the  ar- 
rangement of  corridors  and  stairways,  with  which  it  is  honey- 
combed. From  the  fourteenth  to  the  seventeenth  century  inclusive, 
the  building  was  treated  as  a  quarry;  to  this  its  ruinous  condition 
is  principally  due. 

The  west  end  of  the  Arch  of  Constantine  appears  at  the  right 
of  the  print. 


44 


ROMAN  ARCHITECTURE. 


45 


The  Arch  of  Constantine  in  Rome. 

315  A.  D. 

This  arch  stands  across  the  Via  di  San  Gregorio,  between  the 
Palatine  Hill  and  the  Colosseum.  The  view  is  taken  from  the 
south. 

This  is  one  of  the  best  preserved  and  best  proportioned  of  the 
numerous  arches  of  triumph  scattered  over  the  Roman  empire. 
It  may  be  described  as  a  free-standing  block  of  masonry,  set 
across  a  roadway,  and  pierced  with  three  arched  passages.  It  is 
divided  by  its  superficial  decoration  into  a  main  story  and  an 
attica.  The  main  story  exhibits  a  characteristic  Roman  adapta- 
tion and  perversion  of  Greek  architectural  elements.  Four  Corin- 
thian columns,  having  no  necessary  architectural  function,  deco- 
rate each  main  facade.  They  are  raised  upon  high  bases,  and 
above  them  the  entablature  is  "  broken,"  t.  e.,  bent  outward  at 
right  angles  and  back  again.  This  peculiarly  Roman  treatment 
of  the  entablature  is  here  turned  to  account  to  support  pedestals 
for  statues  of  barbarian  captives.  Directly  behind  the  columns 
there  are  Corinthian  pilasters.  An  inscription  on  the  middle  of 
the  attica,  on  each  front,  shows  that  the  monument  was  erected 
to  commemorate  the  victory  of  Constantine  over  Maxentius  in 
312.  Short  inscriptions  above  the  side  passages  appear  to  indi- 
cate 315  as  the  year  of  completion.  On  the  top  there  was 
originally  a  statue  of  the  emperor,  standing  with  a  terrestrial 
globe  in  one  hand  and  a  lance  in  the  other. 

Some  of  the  architectural  members,  and  the  greater  part  of  the 
sculpture  of  this  arch  were  taken  from  unidentifiable  buildings  of 
the  second  century  (reigns  of  Trajan  and  the  Antonines).  These 
are  far  superior  in  execution  to  the  clumsy  work  of  Constantine's 
time.  There  has  been  some  modern  restoration.  Thus  one  of 
the  statues  of  barbarians  and  the  heads  and  hands  of  the  others 
are  modern. 


GRAVE  STELE  OF  ARISTION. 


46 


ARCHAIC  PERIOD. 


47 


Gravestone  of  Aristion. 

LATE  SIXTH  CENTURY  B.  C. 

Athens,  National  Museum.  Pentelic  marble.  Found  at  Velanideza  on  the  east 
coast  of  Attica  in  1838.    No  restorations. 

This  is  the  finest  extant  example  of  an  archaic  sculptured 
gravestone  from  Attica.  Its  form  is  that  of  a  narrow  slab  or 
stele,  slightly  tapering  upward.  The  upper  end  is  broken  off. 
The  deceased,  Aristion,  whose  name  appears  on  the  base  (not 
visible  in  our  print)  into  which  the  stele  is  set,  is  represented  in 
low  relief.  He  is  accoutered  as  a  warrior,  wearing  a  cuirass  over 
his  short  chiton,  greaves  on  his  legs,  and  a  helmet  on  his  head, 
while  his  left  hand  grasps  a  spear.  There  are  some  imperfections 
in  the  modeling,  but  these  are  not  due  to  carelessness.  On  the 
contrary,  the  work  is  executed  with  scrupulous  care.  The  formal- 
ism in  the  arrangement  of  hair  and  drapery  should  be  noted,  as 
well  as  the  fact  that  the  eye  is  represented  nearly  as  in  front 
view,  though  the  face  is  in  profile.  These  points  are  character- 
istic of  the  art  of  the  period. 

The  stele  was  once  liberally  painted,  and  considerable  traces  of 
color  may  still  be  seen,  even  on  the  print.  The  name  of  the 
sculptor,  Aristocles,  is  engraved  immediately  below  the  feet  of 
the  warrior:  iPy0v  'aPi<ttok\4ov^  "  the  work  of  Aristocles." 


ARCHAIC  FEMALE  FIGURE. 


48 


ARCHAIC  PERIOD. 


49 


Head  and  Body  of  Female  Figure 
from  Athenian  Acropolis. 

EARLY  FIFTH  CENTURY  B.  C. 

Athens,  Acropolis  Museum.  Parian  marble.  The  head  and  the  lower  fragments  were 
found  in  the  course  of  the  excavations  of  j 882-3,  on  the  Acropolis  of  Athens.  The  in- 
tervening piece,  now  lighter  in  color,  was  found  at  some  earlier,  unrecorded  date.  No 
restorations. 

These  fragments  belonged  to  a  female  figure,  one  of  the  numer- 
ous series  of  similar  figures  found,  chiefly  in  1886,  on  the  Acropo- 
lis of  Athens.  When  entire,  the  lady  stood  stiffly  erect,  the  left 
foot  a  little  advanced,  the  left  hand  drawing  up  the  folds  of  the 
voluminous  Ionic  chiton,  the  right  arm  bent  at  the  elbow,  the 
right  hand  holding  probably  a  flower.  Her  hair  is  arranged  in  an 
elaborate  and  impossible  manner.  For  ornaments  she  wears  a 
sort  of  diadem  (stephane),  ear-rings,  a  necklace,  and  a  bracelet. 

This  figure  is  one  of  the  most  advanced  in  style  of  the  series 
to  which  it  belongs.  It  was  doubtless  executed  shortly  before 
480  b.  c,  the  year  in  which  the  Persians  occupied  Athens.  The 
head  shows  traces  of  fire,  and  thus  bears  witness  to  the  destruc- 
tive work  of  the  barbarians  on  the  acropolis.  The  face  is  of  ex- 
traordinary refinement  and  beauty.  In  the  treatment  of  the 
mouth  the  sculptor  has  emancipated  himself  from  the  practise  of 
representing  an  exaggerated  smile,  but  the  eyeballs  are  still  some- 
what too  prominent.  The  figure  retains  considerable  remains  of 
color,  visible  in  the  print  on  eyes  and  diadem. 


ARCHAIC  PERIOD. 


"  Apollo  "  of  Tenea. 

MIDDLE  OF  SIXTH  CENTURY  B.  C. 

Munich,  Glyptothek.  Marble.  Found  in  1846  on  the  site  of  Tenea,  near  Corinth. 
Only  a  piece  in  the  middle  of  the  right  arm  is  restored. 

This  statue  belongs  to  a  numerous  series  of  archaic  Greek 
sculptures,  representing  a  nude  male  figure  standing  erect  and 
rigid,  the  left  foot  advanced,  the  arms  hanging  straight,  or  nearly 
straight,  at  the  sides.  Our  specimen  is  not  one  of  the  earliest  and 
rudest,  but  rather  exhibits  considerable  progress  toward  a  truth- 
ful rendering  of  the  human  form.  The  anatomy  of  the  lower 
limbs  is  especially  careful  and  successful.  But  many  features, 
such  as  the  too  narrow  waist,  the  prominent  eyeballs,  the  formally 
arranged  hair,  show  that  sculptors  had  still  much  to  learn.  The 
upward  turn  of  the  corners  of  the  mouth  should  be  noted,  this 
being  a  very  general  characteristic  of  archaic  Greek  sculpture. 

At  one  time  all  figures  of  this  type  were  indiscriminately  called 
"Apollo."  It  is  certain,  however,  that  some  of  them  were  in- 
tended for  human  beings.  There  is  some  reason  for  thinking 
that  our  statue  stood  over  a  grave,  and  represented  the  deceased. 


FIFTH  CENTURY. 


Dying  Warrior  from  the  East  Pedi- 
ment of  the  iEgina  Temple. 

EARLY  FIFTH  CENTURY  B.  C. 

Munich,  Glyptothek.  Parian  marble.  Found  with  other  pediment  figures  in  1811, 
among  the  ruins  of  a  Doric  temple  on  the  island  of  iEgina.  Bought  in  1812  by  Crown 
Prince  Ludwig,  of  Bavaria.  Restorations  :  crest  of  helmet,  thumb,  and  three  fingers  of 
left  hand,  four  toes  of  left  foot,  right  leg  from  middle  of  thigh  down,  additional  bits 
here  and  there. 

The  pediment  group  to  which  this  figure  belonged  represented 
a  battle  between  Greeks  and  Asiatics,  probably  the  mythical 
battle  of  Heracles  and  Telamon  against  Laomedon,  King  of 
Troy.    This  figure  was  placed  in  one  corner  of  the  pediment. 

The  man  is  wounded  in  the  right  side,  and  sinks  in  death.  He 
wears  no  clothing,  and  is  armed  only  with  helmet,  shield,  and 
sword.  It  must  not  be  supposed  that  Greeks  or  Asiatics  actually 
went  into  battle  in  this  guise.  On  the  contrary,  we  have  to  do 
here  with  one  of  the  standing  conventions  of  Greek  sculpture,  the 
convention  of  "  ideal  nudity,"  as  it  is  called. 

This  figure  is  one  of  the  most  admirable  products  of  advanced 
archaic  Greek  art.  The  workmanship  is  masterly,  though  some- 
what stiff  and  hard,  and  the  restrained  pathos  of  the  presenta- 
tion is  deeply  moving. 


HARMODIUS  AND  ARISTOGITON. 
52 


FIFTH  CENTURY, 


S3 


Harmodius  and  Aristogiton. 

477-6  b.  c. 

Naples  Museum.  Greek  marble.  Date  and  place  of  discovery  unknown.  The  head 
of  Aristogiton  is  antique  (nose  restored),  but  does  not  belong  to  the  figure.  Other 
restorations :  of  Aristogiton,  left  hand  and  some  small  pieces ;  of  Harmodius,  arms, 
right  leg,  left  leg  below  knee,  with  plinth  and  tree  trunk. 

Harmodius  and  Aristogiton  had  the  credit,  somewhat  unde- 
servedly, of  having  liberated  Athens  from  its  tyrants,  and  were 
honored  accordingly.  Their  statues  in  bronze,  by  Antenor,  were 
set  up  on  a  terrace  above  the  market-place  of  Athens  not  long 
after  510  b.  c.  And  when  these  were  carried  off  by  Xerxes  in 
480,  they  were  replaced  by  a  second  group,  the  work  of  Critius 
and  Nesiotes,  two  sculptors  who  habitually  worked  in  partner- 
ship. The  Naples  figures  are  probably  copied  from  the  later 
group,  which  was  set  up  in  477-6. 

The  two  friends  are  represented  in  a  state  of  ideal  nudity, 
advancing  to  attack  the  tyrants.  Aristogiton,  the  figure  with  the 
mantle  on  his  arm,  was  the  elder  of  the  two,  and  in  the  original 
he  was  bearded.  The  head  given  him  by  the  restorer  is  entirely 
out  of  keeping,  being  a  copy  of  a  work  of  more  than  a  hundred 
years  later.  The  right  arm  of  Harmodius  should  be  raised  in  a 
position  for  bringing  down  a  stroke  of  the  sword.  The  tree- 
trunk  supports  would  have  been  absent  from  the  bronze  originals. 

The  figures  show  traces  of  a  lingering  archaism,  notably  in  the 
head  of  Harmodius,  with  its  heavy  chin  and  formally  arranged 
hair. 


54 


FIFTH  CENTURY. 


Apollo  from  West  Pediment  of  Tem- 
ple of  Zeus  at  Olympia. 

CIRCA  460  B.  C. 

Olympia  Museum.  Parian  marble.  Found  in  the  course  of  the  German  excavation 
of  Olympia,  1875-81.    No  restorations. 

The  subject  of  the  sculptures  which  filled  the  west  pediment  of 
the  Temple  of  Zeus,  at  Olympia,  is  the  battle  between  the  Cen- 
taurs and  Lapiths,  at  the  wedding  feast  of  Peirithoos.  In  the 
center  stands  the  god  Apollo,  as  arbiter  of  the  contest,  while  to 
right  and  left  of  him  extend  groups  of  combatants  interlocked  in 
violent  struggle.  Our  print  shows,  besides  Apollo,  parts  of  the 
two  adjacent  groups,  in  each  of  which  a  centaur  tries  to  carry  off 
a  Lapith  woman. 

These  sculptures  represent  the  last  stage  in  the  development 
of  Greek  sculpture  prior  to  Phidias.  Traces  of  archaism  remain, 
as  in  the  stiffness  of  Apollo's  standing  position  and  the  formalism 
in  the  arrangement  of  his  hair.  The  workmanship,  moreover,  is 
rapid  and  sometimes  careless.  But  the  entire  scene  is  a  master- 
piece of  dramatic  composition,  and  some  parts,  as  the  head  of 
Apollo  and  the  head  of  the  Lapith  woman  at  the  right,  are  admi- 
rable in  their  austere  beauty. 

Apollo  held  some  metallic  object,  doubtless  a  bow,  in  his  left 
hand.    His  long  hair  was  bound  by  a  metallic  hoop. 


55 


o 

w 
w 

w 
a 

H 

O 
H 

3 

w 

H 
< 

w 
W 

H 

s 

o 
& 


FIFTH  CENTURY. 


57 


Theseus  (so  called)  and  Three  Fates 
(so  called)  from  the  East  Pedi- 
ment of  the  Parthenon. 

circa  435  B.  c. 

London,  British  Museum.  Pentelic  marble.  Taken,  by  the  agents  of  Lord  Elgin, 
from  the  east  pediment  of  the  Parthenon,  in  1801-3.  Bought  by  the  British  Government, 
with  the  other  Elgin  marbles,  in  1816.    No  restorations. 

The  subject  of  the  group  which  filled  the  eastern  pediment  of 
the  Parthenon  was  the  Birth  of  Athena,  but  no  details  as  to  the 
treatment  of  the  subject  have  come  down  to  us  from  any  one  who 
saw  the  group  in  its  completeness.  The  central  figures,  about 
half  of  the  whole  original  number,  disappeared  centuries  ago.  The 
figures  that  remain  are  all  mutilated,  and  their  interpretation  is 
beset  with  uncertainties.  No  one  now  would  defend  the  name 
Theseus*  "  The  Three  Fates  "  may,  perhaps,  be  rightly  so 
called. 

The  "  Theseus  "  was  placed  near  the  left  or  southern  corner  of 
the  pediment,  next  to  the  horses  of  Helios,  and  was  consequently 
turned  away  from  the  central  scene.  He  reclines  upon  a  rock, 
his  mantle  spread  beneath  him,  and  under  it  the  skin  of  some 
feline  animal,  apparently  a  panther.  This  suggests  the  god 
Dionysus,  but  it  is  hard  to  reconcile  this  powerful  form  with  the 
effeminate  characteristics  of  that  god  as  known  to  us  from  other 
(to  be  sure,  later)  statues.  This  is  the  only  figure  from  the 
Parthenon  pediments  which  retains  its  head. 

The  figures  of  "  The  Three  Fates  "  were  placed  near  the  right  or 
northern  corner  of  the  pediment,  so  that  the  reclining  figure 
corresponded  in  position  to  the  "  Theseus."  The  three  goddesses 
sit  or  recline  on  rocky  ground.  Each  is  dressed  in  an  Ionic 
chiton,  a  thin  linen  shift,  and  has  a  mantle  of  woolen  stuff  loosely 
wound  about  her  person.  There  are  also  rugs  spread  under  them 
upon  the  ground.  The  figure  to  the  left  turns  toward  the  central 
scene,  as  if  her  attention  had  been  suddenly  aroused,  while  the 
one  to  the  right,  like  the  "  Theseus,"  seems  to  be  still  unconscious 
of  the  great  event. 

*  For  illustration  of  Theseus  see  page  55. 


METOPE  FROM  THE  PARTHENON. 
(British  Museum,  No.  307.) 


58 


FIFTH  CENTURY. 


59 


Metope  of  the  Parthenon, 

BRITISH  MUSEUM  NO.  307.     CIRCA  440  E.  C. 

London,  British  Museum.  (The  head  and  right  arm  of  the  Centaur,  and  the  head  of 
the  Lapith  are  casts  from  the  originals  in  Copenhagen,  to  which  place  they  were  sent 
in  1688.)  Pentelic  marble.  _  Taken  (except  the  parts  just  noted)  from  the  Parthenon  in 
1801-12.  Bought  by  the  British  Government,  with  the  other  Elgin  marbles,  in  1816.  No 
restorations. 

The  ninety-two  metopes  of  the  exterior  frieze  of  the  Parthenon 
were  adorned  with  sculpture  in  high  relief.  The  British  Museum 
possesses  fifteen  of  these  metopes,  all  from  the  south  side  of  the 
temple,  and  all  bearing  scenes  from  the  battle  of  Centaurs  and 
Lapiths,  a  favorite  subject  of  Greek  art.  The  story  was  this  : 
Once  upon  a  time,  at  the  wedding  feast  of  Peirithoos,  king  of  the 
Lapiths  in  Thessaly,  the  Centaurs,  creatures  partly  human,  partly 
equine  in  form,  came  as  invited  guests.  Inflamed  with  wine, 
they  began  to  lay  violent  hands  upon  the  women.  The  Lapiths 
sprang  to  the  rescue,  and  a  fierce  battle  ensued,  in  which  the 
Lapiths  were  victorious. 

In  the  Parthenon  metopes,  as  in  other  artistic  representations 
of  the  subject,  the  contest  is  still  undecided.  The  Lapith  of  the 
present  group  is  worsted.  Sunk  to  earth,  he  seems  to  plead  for 
mercy.  The  Centaur,  exceptional  in  having  ideal  Greek  features, 
is  about  to  hurl  upon  his  antagonist  a  vessel  (hydria),  which  may 
be  supposed  to  have  been  used  for  wine  at  the  feast.  In  contrast 
with  the  next  number,  this  metope,  though  fine  in  its  way,  shows 
little  vehemence  of  action,  and  the  modeling,  especially  of  the 
Centaur,  is  less  perfect.  It  seems  the  work  of  a  sculptor  not  com- 
pletely emancipated  from  archaic  methods. 


FIFTH  CENTURY.  6l 


Metope  of  the  Parthenon, 

BRITISH  MUSEUM  NO.  310.     CIRCA  440  B.  C. 

London,  British  Museum.  (The  heads  are  both  casts,  that  of  the  Lapith  from  the 
original  acquired  by  the  Louvre  in  1881,  and  said  to  have  been  found  in  the  sea  at  the 
Piraeus,  that  of  the  Centaur  from  the  original  in  the  Acropolis  Museum,  Athens.) 
Pentelic  marble.  Taken  (except  the  heads)  from  the  Parthenon  in  1801-12.  Bought  by 
the  British  Government  with  the  other  Elgin  marbles  in  1816.    No  restorations. 

For  the  subject  see  the  preceding  number. 

In  this  metope  the  Lapith  has  the  advantage.  With  his  left 
hand  he  forces  the  Centaur  backward,  while  his  right  arm  is 
about  to  deal  a  thrust  of  the  sword.  The  composition  is  admi- 
rably adapted  to  the  field,  the  modeling  is  masterly,  and  the 
action  is  rendered  with  magnificent  vigor.  The  use  made  of 
draperies  is  also  highly  effective.  The  Centaur's  bestial  face  is 
distorted  with  pain,  but  the  Lapith  wears  an  imperturbable  coun- 
tenance. 


62 


FIFTH  CENTURY. 


Part  of  Slab  of  the  East  Frieze  of 
the  Parthenon. 

CIRCA  440  B.  C. 

Athens,  Acropolis  Museum.  Pentelic  marble.  Found  in  1836  in  front  of  the  Parthe- 
non.   No  restorations. 

The  continuous  frieze  of  sculpture  in  low  relief  to  which  this 
fragment  belongs  extended  around  the  cella  of  the  Parthenon  and 
its  vestibules,  at  a  height  of  thirty-nine  feet  above  the  pavement 
of  the  colonnade.  Its  total  original  length  was  five  hundred  and 
twenty-two  feet  ten  inches,  its  height  is  nearly  three  feet  four 
inches.  The  subject  represented  is  a  procession,  probably  the 
one  which  wound  upward  from  the  market-place  of  Athens  to  the 
acropolis  at  the  great  Panathenaia,  the  principal  Athenian  festi- 
val. On  the  east  front,  where  the  procession  culminates,  there  is 
a  group  of  twelve  seated  divinities,  who  are  to  be  regarded  as  in- 
visible spectators  of  the  scene.  To  this  group  belong  the  figures 
shown  in  our  print.  The  one  at  the  left  is  commonly  taken  for 
Poseidon ;  the  other  two  may  be  Dionysus  and  Demeter,  or 
Apollo  and  Artemis. 

Considerable  use  was  doubtless  made  of  color  on  the  frieze,  in 
accordance  with  the  usual  practise,  and  numerous  small  objects 
of  bronze  were  attached  by  means  of  rivets.  Thus  the  central 
figure  of  our  print  wore  a  bronze  wreath  and  held  some  staff-like 
object,  perhaps  a  thyrsus,  in  his  left  hand  ;  the  figure  at  the  right 
carried  something  loosely,  perhaps  stalks  of  grain,  in  the  right 
hand  ;  and  the  figure  at  the  left  seems  to  have  had  a  painted 
fillet  about  his  head,  and  a  bronze  object  (trident?)  in  his  left 
hand. 


64 


FIFTH  CENTURY. 


65 


Two  Slabs  of  the  North  Frieze  of  the 
Parthenon. 

CIRCA  440  B.  C. 

London,  British  Museum.  Pentelic  marble.  Taken,  by  the  agents  of  Lord  Elgin, 
from  the  Parthenon  in  1 801-12.  Bought  by  the  British  Government,  with  the  other 
Elgin  marbles,  in  1816.    No  restorations. 

See  description  of  the  preceding  number. 

This  part  of  the  procession  consists  of  young  Athenians,  riding 
bareback  on  stallions  of  a  small  and  mettlesome  breed.  Holes 
for  the  attachment  of  the  bronze  bridles  and  reins  may  be  seen  in 
several  places.  The  costumes  of  the  young  men,  instead  of  ex- 
hibiting the  uniformity  which  would  prevail  in  an  actual  proces- 
sion, are  artistically  varied.  One  figure,  the  only  one  in  the 
entire  frieze  who  shows  his  back  to  the  spectator,  has  only  the 
small  chlamys  loosely  wrapped  about  his  loins,  and  is  bareheaded 
and  barefooted ;  the  next  wears  a  leather  cap,  a  chlamys,  and 
high  leather  boots ;  the  next  a  crested  metal  helmet,  a  cuirass 
with  chlamys  thrown  over  it,  and  boots ;  the  next  two  have  chiton, 
and  chlamys,  and  sandals  (the  straps  of  the  last  presumably  indi- 
cated by  color).  The  attitudes  also  of  horses  and  riders  are 
constantly  varied.  The  whole  impression  produced  is  one  of 
chastened  and  graceful  impetuosity. 


THE  VELLETRI  ATHENA. 


66 


FIFTH  CENTURY. 


67 


The  Velletri  Athena. 

SECOND  HALF  OF  FIFTH  CENTURY  B.  C. 

Paris,  Louvre.  Coarse-grained  Greek  marble.  Found  in  1797,  at  Velletri,  the 
ancient  Velitrae,  twenty-six  miles  from  Rome.  Restorations:  right  hand  with  half  of 
forearm  ;  left  hand  and  unimportant  pieces  elsewhere. 

This  colossal  statue  (height,  ten  feet)  is  probably  a  copy,  exe- 
cuted not  before  the  first  century  b.  c,  of  a  lost  bronze  original, 
produced  at  Athens  in  the  time  of  Phidias.  The  goddess  is 
dressed  in  the  Doric  chiton  and  the  rectangular  mantle.  Over 
her  shoulders  she  wears  a  narrow,  collar-like  aegis,  bordered  with 
serpents  and  fastened  by  a  Gorgon's-head  brooch.  On  her  head 
is  a  Corinthian  helmet.  On  her  feet  are  thick-soled  sandals.  Her 
right  hand  doubtless  held  a  spear,  and  her  left  hand  probably 
supported  a  small  figure  of  Victory.  The  statue  is  a  fine  illustra- 
tion of  that  austere,  majestic  conception  of  divinity  which  gov- 
erned the  art  of  the  fifth  century  b.  c. 


THE  DORYPHORUS. 


68 


FIFTH  CENTURY. 


69 


Copy  of  the  Doryphorus  of  Poly- 
clitus. 

SECOND  HALF  OF  FIFTH  CENTURY  B.  C. 

Naples  Museim.  Marble.  Found  in  1757  in  the  palcestra  at  Pompeii.  Broken  in 
several  places  and  rejoined,  but  said  to  be  substantially  antique  throughout. 

This  is  the  best  preserved  of  a  number  of  essentially  identical 
statues,  which  have  been  recognized  with  high  probability  as 
copied  from  a  lost  work  of  Polyclitus,  the  great  Argive  sculptor. 
The  original  was  of  bronze,  and  must  have  far  surpassed  in  exe- 
cution this  indifferent  copy.  The  figure  represents  a  youthful 
athlete  of  massive  build,  probably  a  victor  in  the  pentathlon,  or 
series  of  five  contests  (jumping,  throwing  the  discus,  throwing  the 
spear,  running  and  wrestling).  In  his  left  hand  he  should  hold  a 
spear  about  six  feet  long,  instead  of  the  meaningless  short  stick 
(modern).  The  original  of  this  figure  was  a  famous  example  of  a 
numerous  class  of  Greek  statues,  viz.,  the  statues  representing 
victors  in  athletic  games.  Some  sculptors,  like  Polyclitus,  devoted 
a  large  part  of  their  time  to  producing  such  athlete-statues,  to  be 
set  up  at  the  places  of  the  games  (Olympia,  Delphi,  etc.,)  or  in  the 
native  cities  of  the  victors. 


THE  WOUNDED  AMAZON. 


7o 


FIFTH  CENTURY. 


7T 


Wounded  Amazon. 

LATTER  HALF  OF  FIFTH  CENTURY,  B.  C. 

London,  Lansdowne  House.  Pentelic  marble.  Probably  found  near  Tor  Colom- 
baro,  midway  between  Rome  and  Albano,  in  1771.  Bought  by  the  Earl  of  Shelburne, 
afterwards  first  Marquis  of  Lansdowne.  Restorations :  half  of  nose,  front  half  of  right 
arm  from  wrist  to  biceps  inclusive,  fingers  and  tip  of  thumb  of  right  hand,  half  of  left 
forearm  w.th  hand,  both  legs  below  knees,  lower  part  of  pillar,  plinth. 

This  statue  is  one  of  the  best  of  several  substantially  identical 
copies  executed  not  earlier  than  the  first  century  b.  c,  of  some 
famous  Greek  work,  now  lost.  On  grounds  of  style  the  original 
is  judged  to  have  been  of  bronze,  and  to  have  been  made  in  the 
latter  half  of  the  fifth  century  b.  c.  Several  single  figures  of 
Amazons  belonging  to  that  period  are  known  by  references  in 
literature,  among  them  one  by  Polyclitus,  the  great  sculptor  of 
Argos.  Our  knowledge  of  this  artist  depends  chiefly  upon  cer- 
tain statues  of  young  men  (copies,  not  originals),  which  have  been 
traced  with  high  probability  to  him.  To  these,  and  particularly 
to  the  so-called  Doryphorus  (see  page  69)  the  Lansdowne  Amazon 
and  its  duplicates  show  such  a  resemblance  in  pose  and  feature 
as  to  be  generally  taken  for  copies  of  the  Amazon  of  Polyclitus. 

The  Amazons  were  a  mythical  tribe  of  women  warriors,  sup- 
posed to  live  in  Northeastern  Asia  Minor,  and  their  legendary 
combats  with  Greeks  were  among  the  most  popular  subjects  of 
Greek  sculpture  and  painting.  The  Amazon  of  our  print  is 
wounded  near  the  right  breast,  yet,  according  to  the  custom  of 
Greek  art  of  this  period,  there  is  no  strongly  marked  expression 
of  pain  upon  her  features.  Her  dress  is  the  short  woolen  chiton, 
such  as  was  worn  by  Greek  men,  secured  by  two  girdles,  one 
concealed,  the  other  visible. 


CARYATID  FROM  THE  SOUTH  PORCH 
OF  THE  ERECHTHEUM. 


FIFTH  CENTURY. 


73 


Caryatid  from  the  South  Porch  of 
the  Erechtheum. 

CIRCA  41  5  B.  C. 

London,  British  Museum.  Pentelic  marble.  Taken,  by  the  agents  of  Lord  Elgin, 
from  the  Erechtheum  in  1801-3.  Bought  by  the  British  government,  with  the  other 
Elgin  marbles,  in  1816.    No  restorations. 

The  south  porch  of  the  Erechtheum  (see  page  41)  had  a  flat 
marble  ceiling  supported  by  six  caryatids  (/.  e.,  female  figures 
used  in  place  of  columns),  placed  thus  : 

W  E 
*      x       *  * 

The  position  of  the  Elgin  statue  is  marked  with  the  x. 

The  figure  is  dressed  in  the  Doric  chiton,  a  long,  straight, 
woolen  garment,  folded  over  from  the  top  and  girded  about  the 
waist.  She  wears  also  a  small  mantle,  not  visible  in  our  print, 
attached  at  the  shoulders  and  hanging  at  the  back.  The  capital 
on  her  head  does  not  conform  to  any  of  the  normal  types  of 
Greek  capital. 

From  a  contemporary  Athenian  inscription  relating  to  the 
Erechtheum  we  learn  that  the  Maidens,  as  they  are  there  called, 
were  already  finished  in  the  year  409  b.  c.  They  may  have  been 
executed  six  or  eight  years  earlier.  The  employment  of  female 
figures  as  architectural  supports  does  not  seem  to  have  been 
common  in  Greece,  but  an  example  dating  nearly  a  hundred  years 
earlier  has  recently  been  found  at  Delphi. 


THE  HERMES  OF  PRAXITELES. 


74 


FOURTH  CENTURY. 


75 


The  Hermes  of  Praxiteles. 

CIRCA  350  B.  C. 

Olympia  Museum.  Parian  marble.  The  principal  part  was  found  on  May  8,  1877, 
in  the  Temple  of  Hera  at  Olympia:  some  fragments  came  to  light  at  different  times 
subsequently.  Restorations  (in  plaster);  the  arms  of  Dionysus  (not  including  the 
right  hand),  and  some  bits  needed  to  complete  his  body. 

This  statue,  or,  properly  speaking,  this  group,  was  seen  by  the 
Greek  traveler  Pausanias  in  the  second  century  of  our  era,  when 
it  was  still  standing  on  its  pedestal  in  the  Temple  of  Hera,  at 
Olympia.  He  calls  it  "  a  marble  Hermes  carrying  the  infant 
Dionysus,"  and  says  it  is  the  work  of  Praxiteles.  This  is  the 
only  case  where  we  possess  an  authenticated  original  work  by  a 
Greek  sculptor  of  the  first  rank. 

The  god  Hermes  is  carrying  the  infant  Dionysus  to  the 
Nymphs,  to  be  reared  by  them.  Pausing  on  his  way,  he  rests  his 
left  arm  with  its  burden  on  a  convenient  support,  and  with  his 
right  hand,  now  lost,  holds  up  some  object,  most  likely  a  bunch 
of  grapes,  for  the  entertainment  of  the  child.  The  fact  that  the 
latter,  though  new  born,  is  able  to  sit  erect  and  play,  may,  perhaps, 
be  justified  on  the  ground  that  he  is  a  god,  and  not  a  mortal. 
But  this  explanation  cannot  be  stretched  to  account  for  his  too 
diminutive  size  and  his  untruthful  proportions.  The  fact  is  that 
Praxiteles,  like  Greek  artists  generally  down  to  his  time,  had  paid 
very  little  attention  to  the  characteristic  forms  of  infancy.  The 
shortcomings  of  the  subordinate  figure,  however,  are  easily  for- 
gotten in  the  presence  of  the  incomparable  beauty  of  Hermes. 
By  good  fortune,  though  the  marble  is  somewhat  discolored,  the 
surface  is  intact,  and  we  are  enabled  to  appreciate  the  exquisite 
refinement  of  Praxiteles'  workmanship. 


7* 


FOURTH  CENTURY. 


77 


Slab  of  Mausoleum  Frieze. 

CIRCA  350  B.  C. 

London,  British  Museum.  Asiatic  marble.  Removed  in  1846,  along  with  eleven 
other  sculptured  slabs,  from  the  Fortress  of  Budrun,  on  the  site  of  the  ancient  Hali- 
carnassus,  by  Viscount  Stratford  de  Redcliffe,  English  ambassador  at  Constantinople 
No  restorations. 

The  mausoleum,  or  funeral  monument  of  Mausolus,  satrap  of 
Caria,  was  of  such  size  and  magnificence  as  to  be  reckoned  as 
one  of  the  seven  wonders  of  the  world.  It  was  built  by  Artemisia, 
the  sister  and  widow  of  Mausolus,  in  the  years  immediately  pre- 
ceding and  following  350  B.  c.  It  was  decorated  with  a  profusion 
of  statues,  and  with  at  least  three  friezes  in  bas-relief.  Accord- 
ing to  Pliny,  the  decoration  of  each  of  the  four  sides  was  assigned 
to  a  different  sculptor,  that  on  the  east  to  Scopas,  that  on  the 
north  to  Bryaxis,  that  on  the  south  to  Timotheus,  and  that  on  the 
west  to  Leochares,  all  famous  artists.  In  addition  to  the  twelve 
slabs  of  frieze  secured  by  Lord  Stratford  de  Redcliffe,  the  British 
Museum  possesses  numerous  sculptures  in  the  round,  and  addi- 
tional reliefs  from  the  same  monument,  most  of  them  found  by 
Newton  in  1857,  in  the  course  of  excavations  on  the  site. 

The  slab  shown  in  our  print  belongs  to  a  frieze  of  which  about 
ninety  feet  are  preserved,  and  is  one  of  the  best  of  the  series. 
The  subject  is  a  favorite  one  in  Greek  art, —  a  battle  between 
Greeks  and  Amazons.  At  the  left  of  our  slab  two  Greeks  attack 
a  fallen  Amazon ;  at  the  right  a  Greek  pulls  a  mounted  Amazon 
backward  by  the  hair.  The  Amazons  are  dressed  in  a  short 
chiton,  such  as  was  commonly  worn  by  Greek  men,  while  the 
Greeks,  in  accordance  with  a  common  convention  of  Greek  art, 
are  naked,  or  nearly  so. 


7% 


FOURTH  CENTURY. 


79 


Sarcophagus  of  the  Mourning 
Women. 

CIRCA  350  B.  C. 

Constantinople  Museum.  White  marble.  Found  in  1887  in  one  of  a  group  of  com- 
municating subterranean  burial  chambers  near  Saida,  the  ancient  Sidon.  No  restora- 
tions. 

Though  found  in  Phoenicia,  this  sarcophagus  is  purely  Greek 
in  design  and  execution.  Its  form  is  adapted  from  that  of  an 
Ionic  temple,  with  the  omission  of  the  frieze  of  the  entablature. 
In  each  of  the  eighteen  intercolumniations  is  a  woman  in  an  atti- 
tude of  grief.  No  nobler  or  more  beautiful  examples  than  these 
exist  of  the  draped  female  figure,  as  treated  by  Greek  sculpture  in 
the  fourth  century.  Below,  on  the  socle,  is  a  delicately  wrought 
relief  on  a  small  scale,  representing  a  hunt.  Above,  on  a  sort  of 
balustrade,  may  be  seen  a  funeral  procession.  Several  archaeolo- 
gists believe  that  this  sarcophagus  contained  the  remains  of 
Straton  I.,  King  of  Sidon,  who  came  to  a  violent  end  in  361-60 
B.  c. 


So 


FOURTH  CENTURY. 


The  Rondanini  Alexander. 

LATTER  HALF  OF  FOURTH  CENTURY  B.  C. 

Munich,  Glyptothek.  Greek  marble.  Date  and  place  of  discovery  unknown. 
Formerly  in  the  Rondanini  Palace  in  Rome.  Restorations :  both  arms,  right  leg,  with 
its  support,  front  part  of  left  foot,  small  pieces  of  the  cuirass. 

This  statue  was  executed  in  the  Roman  period,  but  is,  presuma- 
bly, an  intentionally  faithful  copy  of  a  Greek  original  of  Alexan- 
der's own  time.  The  king,  or  rather  the  prince,  is  represented  as 
a  youth  of  perhaps  eighteen.  The  flask  put  into  his  left  hand  by 
the  restorer  (Thorwaldsen)  is  senseless,  but  the  true  restoration  of 
the  arms  is  a  matter  of  conjecture.  The  chief  beauty  of  the 
statue  is  in  the  head.  We  have  no  certainty  regarding  the  de- 
gree of  fidelity  of  the  likeness,  but  the  probabilities  are  that  the 
actual  features  of  the  young  Alexander  are  here  in  some  measure 
preserved  to  us. 


HELLENISTIC  PERIOD. 


8l 


Borghese  Warrior  (so-called  Bor- 
ghese Gladiator.) 

CIRCA   IOO  B.  C. 

Paris,  Louvre.  Marble.  Found  early  in  the  seventeenth  century  at  Anzio  (Antium). 
In  possession  of  the  Borghese  family  till  1808,  when  it  was  ceded,  with  most  of  the 
rest  of  the  Borghese  collection,  to  Napoleon  I.  Restorations  :  right  arm  and  right 
ear. 

A  Greek  inscription  on  the  tree-trunk  support  gives  the  sculp- 
tor's name  as  Agasias,  son  of  Dositheus,  of  Ephesus  ('A7a<na? 
Aa>o-i0eou  'E^eo-io?  eTrotei).  The  date  of  the  inscription,  and  hence  of 
the  statue,  cannot  be  very  far  from  100  b.  c. 

The  old  name  of  Gladiator  for  this  figure  was  unquestionably 
wrong.  The  statue  represents  a  Greek  warrior  in  the  state  of 
ideal  nudity  commonly  adopted  by  Greek  sculptors  for  such  sub- 
jects. On  the  left  arm  is  the  central  handle  of  a  shield,  and  the 
shield  itself,  made  of  bronze,  was  attached  by  means  of  rivets, 
but  is  now  missing.  The  right  hand  probably  held  a  short  sword. 
The  indications  are  that  the  statue  did  not  form  part  of  a  group, 
but  was  intended  by  Agasias  to  be  complete  in  itself.  Neverthe- 
less, its  motive  is  intelligible  only  by  reference  to  an  antagonist, 
apparently  a  mounted  antagonist,  against  whom  the  warrior  is  de- 
fending himself.  He  guards  with  his  shield  arm  against  a  threat- 
ened blow  from  above,  and  seeks  an  opportunity  to  deliver  a 
thrust  of  his  sword.  The  figure  is  remarkable  as  an  anatomical 
study,  the  tense  muscles  being  rendered  with  masterly  knowledge, 
and  with  even  exaggerated  distinctness. 


82 


HELLENISTIC  PERIOD. 


33 


The  " Alexander"  Sarcophagus 
(so  called). 

LATE  FOURTH  CENTURY  B.  C. 

Constantinople  Museum.  Pentelic  (?)  marble.  Found  in  1887,  in  one  of  a  group  of 
communicating  subterranean  burial  chambers  near  Saida,  the  ancient  Sidon.  Essen- 
tially unrestored. 

This  sarcophagus  is  one  of  the  most  beautiful  works  of  Greek 
sculpture  in  existence.  The  six  reliefs  which  adorn  the  four  sides 
of  the  receptacle  and  the  gables  of  the  cover  represent  historical 
events  in  a  style  half  realistic,  half  idealistic.  On  one  of  the 
long  sides  is  a  battle  between  Greeks  and  Persians;  Alexander 
the  Great,  recognizable  by  the  lion's  skin  which  he  wears,  like  his 
mythical  ancestor  Heracles,  in  lieu  of  a  helmet,  is  seen  at  the 
extreme  left,  while  an  elderly  general,  probably  Parmenion,  occu- 
pies the  corresponding  position  at  the  right.  The  battle  intended 
is  probably  the  Battle  of  Issus.  On  the  other  long  side  is  a 
hunting  scene. 

This  sarcophagus  is  unique  in  the  completeness  and  freshness 
with  which  it  has  preserved  its  color.  The  nude  parts  of  the 
human  figures,  as  well  as  the  horses,  are  of  an  ivory  tint,  while 
garments,  armor,  saddle-cloths,  and  other  accessories  have  re- 
ceived a  variety  of  delicate  hues.  The  effect  is  exquisitely 
beautiful. 

Nothing  is  certainly  known  as  to  the  person  buried  in  this 
sarcophagus.  It  was  not  Alexander  the  Great,  whose  remains 
found  a  resting  place  in  Alexandria. 


APHRODITE  OF  MELOS. 
84 


HELLENISTIC  PERIOD, 


8S 


Aphrodite  of  Melos  (Venus  of  Milo). 

FOURTH  CENTURY  B.  C.  OR  LATER. 

Paris,  Louvre.  Parian  marble.  Found  on  the  island  of  Melos  (Milo),  in  1820;  acquired 
by  the  Marquis  de  Riviere,  ambassador  of  France  at  Constantinople,  and  by  him  pre- 
sented, in  1821,  to  Louis  XVIIL,  of  France.  Restorations  (in  plaster):  end  of  nose, 
end  of  great  toe  of  right  foot,  and  other  small  bits.  The  ancient  plinth  is  let  into  a 
circular  modern  plinth. 

That  this  statue  represents  Aphrodite,  the  goddess  of  Love,  is 
highly  probable,  though  not  certain.  Numerous  attempts  have 
been  made  to  explain  the  pose  of  the  figure  and  to  supply  the 
missing  parts,  but  no  one  of  these  attempts  commands  the  general 
assent  of  archaeologists.  All  that  is  reasonably  certain  is  that 
some  object  of  considerable  height  stood  at  the  goddess' left  side. 
It  may  be  that  the  right  hand  was  holding  up  the  drapery.  An 
armlet  of  metal,  perhaps  gold,  was  once  attached  to  the  right 
upper  arm,  and  there  were  earrings  which  at  some  time  were 
violently  pulled  away. 

Several  pieces  of  sculpture  were  found  together  with  the 
Aphrodite.  Among  them  was  a  fragment  of  a  plinth,  bearing  the 
signature  of  an  artist  from  Antioch  on  the  Maeander.  This  im- 
portant fragment  is  now  lost.  If  it  could  be  proved  to  have 
belonged  to  the  Aphrodite,  it  would  fix  the  date  of  the  statue 
rather  late  in  the  Hellenistic  period.  The  connection  is,  however, 
very  doubtful.  There  is  nothing,  then,  but  the  style  of  the  work 
upon  which  to  base  an  inference  as  to  date.  The  partial  nudity 
of  the  goddess  probably  indicates  a  period  not  earlier  than  the 
fourth  century  b.  c,  and  it  is  most  likely  that  the  statue  is  a  later 
adaptation  (not  a  copy)  of  an  original  of  that  period.  At  all 
events,  this  is  the  noblest  existing  embodiment  of  Aphrodite. 


OTRICOLI  ZEUS. 


86 


HELLENISTIC  PERIOD. 


8? 


Otricoli  Zeus. 

FOURTH  CENTURY  B.  C.  OR  LATER. 

Rome,  Vatican.  Carrara  marble.  Found  in  the  latter  part  of  the  eighteenth  century 
at  Otricoli,  a  village  some  thirty-five  miles  to  the  north  of  Rome.  The  antique  part 
was  a  mere  mask,  i.  e.,  it  consisted  of  the  face,  and  the  immediately  adjacent  hair. 
Restorations :  tip  of  nose,  a  piece  of  left  side  of  face  with  hair,  and  some  bits  of 
beard.    The  back  of  the  head  and  the  bust  are  also  modern. 

The  material  of  this  colossal  mask,  Carrara  marble,  shows  that 
it  was  not  executed  before  the  time  of  Augustus.  But  in  all 
probability  it  was  copied  from  a  Greek  original,  although  no 
simple  proof  can  be  offered  for  this  belief.  The  supposed  original 
is  assigned  by  some  authorities  to  the  middle  of  the  fourth  cen- 
tury, by  others  to  the  Hellenistic  period. 

The  sculptor  has  sought  to  express  the  intellectual  strength, 
the  benevolence,  the  power  of  will,  and  the  dignity  of  the  supreme 
god  of  the  Greek  religion,  and  he  has  achieved  his  purpose  with 
a  success  not  rivaled  by  any  other  extant  treatment  of  the  same 
subject.  The  deep  setting  of  the  eyes,  the  more  than  human 
prominence  and  loftiness  of  the  forehead,  the  more  than  human 
abundance  of  the  mane-like  hair,  are  means  to  his  end.  The 
Zeus  of  Phidias,  of  which  this  mask  was  once  fancied  to  be  a 
copy,  is  now  known  to  have  produced  its  overwhelming  effect  of 
majesty  by  simpler  means,  with  greater  artistic  self-restraint. 


APOLLO  OF  THE  BELVEDERE. 


as 


HELLENISTIC  PERIOD, 


s9 


Apollo  of  the  Belvedere. 

FOURTH  CENTURY  B.  C.  OR  LATER. 

Rome,  Vatican.  Carrara  (?)  marble.  Existent  in  the  Belvedere  of  the  Vatican  since 
1503  KesTcraiTors  :  left  hand,  right  forearm  and  hand,  upper  part  of  tree  trunk  and 
quiver,  small  pieces  of  drapery,  and  legs. 

This  is  probably  a  Roman  copy  of  a  lost  bronze  statue,  which 
is  generally  assigned  to  the  Hellenistic  period.  At  any  rate,  the 
excessive  elegance  of  the  slender  figure  and  the  elaborate  coiffure 
stamp  the  work  as  belonging  to  a  post-Phidian  age.  The  god 
was  represented  apparently  as  having  just  shot  an  arrow  from  his 
bow.  His  sole  garment  is  the  chlamys,  fastened  by  a  brooch  on 
the  right  shoulder.  A  quiver  strap  crosses  his  body.  At  one 
time  this  statue  was  regarded  as  one  of  the  supreme  masterpieces 
of  ancient  sculpture. 


VICTORY  OF  SAMOTHRACE. 
90 


HELLENISTIC  PERIOD. 


9T 


Victory  of  Samothrace. 

CIRCA  300  B.  C. 

Paris,  Louvre.  Parian  marble.  The  statue  was  found  by  M.  Champoiseau  in  1863, 
on  the  island  of  Samothrace,  in  upwards  of  a  hundred  fragments.  These  fragments 
were  conveyed  to  France  and  pieced  together  in  the  Louvre.  The  pedestal  was  not 
removed  from  Samothrace  till  1879.  Restorations  (in  plaster) :  left  half  of  chest,  right 
wing,  small  pieces  of  left  wing. 

From  certain  coins  of  Demetrius  Poliorcetes,  on  which  a  figure 
closely  similar  to  this  appears,  it  can  safely  be  inferred  that  this 
statue  was  set  up  by  Demetrius  soon  after  306  b.  c,  in  commem- 
oration of  a  naval  victory  won  by  him  in  that  year  over 
Ptolemy  I.,  the  ruler  of  Egypt.  The  coin  type  gives  also  the 
restoration  of  the  statue.  The  goddess  of  victory  has  alighted  on 
the  prow  of  a  galley.  With  her  right  hand  she  held  a  trumpet  to 
her  lips,  as  if  blowing  a  blast  of  triumph ;  in  her  left  hand  was 
an  object  in  the  form  of  a  cross,  commonly  interpreted  as  a 
trophy  frame.  She  wears  a  thin  chiton  or  shift,  folded  over  from 
the  top  and  girded  under  the  breasts;  also  a  mantle  or  oblong 
shawl  of  thicker  stuff,  a  corner  of  which  hangs  loosely  over  the 
left  shoulder,  while  the  rest  passes  across  the  back  and  around 
the  right  leg  to  the  front.  The  vessel  is  conceived  as  under  way, 
and  the  draperies  are  blown  backward  in  tumultuous  folds,  so  as 
to  reveal  the  superb  figure. 


THE  LAOCOON  GROUP. 


92 


HELLENISTIC  PERIOD.  93 

The  Laocodn  Group. 

FIRST  (?)     CENTURY  B.  C. 

Rome,  Vatican.  Greek  marble.  Found  in  Rome  in  1506,  on  the  site  of  the  palace  of 
the  Emperor  Titus.  Restorations :  right  arm  of  Laocoon  with  adjacent  parts  of  the 
snake ;  right  arm  of  the  younger  son  with  coil  of  the  snake  around  it ;  right  hand  and 
wrist  of  the  older  son,  and  some  unimportant  bits  here  and  there. 

The  elder  Pliny,  who  died  in  79  A.  D.,  mentions  a  group  of 
"  Laocoon  and  his  sons,  and  admirable  coiling  serpents,"  as  stand- 
ing in  the  house  of  Titus.  This  was  executed,  he  says,  by  three 
Rhodian  artists,  Agesander,  Polydorus,  and  Athenodorus.  It 
is  probable  that  the  Vatican  group  is  the  very  one  mentioned  by 
Pliny. 

The  study  of  Greek  inscriptions  has  shown  that  two  brothers, 
Agesander  and  Athenodorus,  Rhodians,  of  whom  the  latter  at 
least  was  a  sculptor,  lived  in  the  first  half  of  the  first  century  b.  c. 
There  is  considerable  likelihood  that  these  two  men  were  two 
of  the  sculptors  of  the  Laocoon  group.  The  third,  Polydorus, 
may  have  been  another  brother.  If  this  identification  is  correct, 
the  work  is  somewhat  later  than  the  lower  limit  usually  set  for  the 
Hellenistic  period.  Nevertheless,  it  cannot  well  be  separated  from 
the  creations  of  that  age. 

Laocoon  was  a  Trojan  priest,  who  had  grievously  sinned  against 
the  god  Apollo.  His  punishment  was  long  delayed,  but  came  at 
last  in  terrible  shape.  On  a  certain  occasion,  when  he  was  sacri- 
ficing with  the  assistance  of  his  two  sons,  they  were  suddenly 
attacked  by  two  miraculous  serpents.  In  the  sculptured  group, 
the  father,  sunk  upon  the  altar,  seeks  in  mortal  agony  to  free  him- 
self from  the  serpents'  coils.  His  right  arm,  incorrectly  restored, 
should  be  bent  at  the  elbow,  so  as  to  bring  the  hand  near  the 
back  of  the  head.  The  younger  son  is  already  helpless  and  dying. 
His  right  arm  should  fall  limply  instead  of  being  held  erect. 
The  older  son,  not  yet  bitten  but  probably  not  destined  to  escape, 
strives  to  free  himself,  and  at  the  same  time  looks  with  sympathetic 
horror  upon  his  father's  sufferings. 

Though  it  is  possible  to  read  a  moral  meaning  into  this  group, 
the  purpose  of  the  sculptors  seems  to  have  been  to  present  a  scene 
of  physical  suffering.  This  purpose  they  have  achieved  with 
great  technical  skill.  The  anatomy  of  Laocoon  is  specially 
masterly.  The  serpents,  on  the  other  hand,  are  entirely  untrue  to 
nature. 


94 


HELLENISTIC  PERIOD. 


95 


Group  of  Zeus  and  Other  Figures 
from  the  Altar  of  Pergamon. 

Group  of  Athena  and  Other  Figures 
from  the  Altar  of  Pergamon. 

EARLY  SECOND  CENTURY  B.  C. 

Berlin  Museum.  Bluish-white  marble.  Found  in  the  course  of  the  German  explora- 
tions on  the  site  of  Pergamon,  1878-80.    No  restorations. 

The  Altar  of  Pergamon  in  Asia  Minor  was,  properly  speaking, 
an  altar-platform,  a  construction  of  great  size  and  great  archi- 
tectural magnificence.  Its  exterior  was  adorned  with  a  con- 
tinuous frieze  in  high  relief,  seven  and  one  half  feet  in  height, 
and  something  like  four  hundred  feet  in  total  length.  To  this 
figure  belong  the  slabs  shown  in  our  two  prints. 

The  subject  of  the  entire  composition  is  the  gigantomachy ;  or 
battle  of  the  gods  against  the  rebellious  sons  of  earth.  The 
group  containing  Zeus  was  clearly  intended  to  be  the  most  im- 
portant of  all.  Here  the  greatest  of  the  gods,  recognizable  by  the 
thunderbolt  in  his  outstretched  right  hand,  and  the  aegis  on  his 
left  arm,  is  pitted  against  three  antagonists.  The  one  at  the  left 
has  been  disabled  by  a  huge  thunderbolt  which  has  transfixed  his 
thigh.  Another  has  fallen  upon  his  knees  and  seems  also  past 
resistance.  The  third,  a  monster  with  animal  ears,  and  legs  that 
pass  into  snakes,  still  fights  desperately. 

In  the  second  group,  which  immediately  adjoined  the  preced- 
ing, the  goddess,  Athena,  moving  to  right,  grasps  a  youthful, 
winged  giant  by  the  hair,  while  at  the  same  time  a  serpent  strikes 
its  fangs  into  his  right  breast.  Below,  at  the  right,  the  Earth 
goddess,  mother  of  the  giants,  recognizable  by  her  horn  of  plenty 
and  her  position,  half  buried  in  the  ground,  vainly  pleads  for 
mercy.  Above  a  flying  Victory  reaches  out  her  hand  to  crown 
Athena. 

This  frieze  lacks  the  simplicity  and  restraint  of  Greek  work 
of  the  best  period,  but  it  is  a  creation  of  astonishing  dramatic 
power. 


c 

a 
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ROMAN  SCULPTURE. 


97 


Roman  Orator  (so-called  Germanicus), 

FIRST  CENTURY  B.  C. 

Paris,  Louvre.  Parian  marble.  Bought  of  Cardinal  Savelli  in  Rome  by  Louis  XIV. 
of  France  in  1685.    Restorations :  thumb  and  forefinger  of  left  hand. 

A  Greek  inscription  engraved  on  the  back  of  the  tortoise  at 
the  side  of  the  figure  gives  the  signature  of  the  sculptor :  Cleom- 
enes,  son  of  Cleomenes,  of  Athens  (/cAeo/xeVrj?  KAeo^eVovs  'AOrivalos 
inoirjaevy  The  style  of  the  letters  points  to  the  first  century  b.  c. 
as  the  date  of  the  work. 

Some  unidentified  Roman,  possibly  Julius  Caesar,  is  here  rep- 
resented in  the  guise  of  the  Greek  god  Hermes,  making  a  speech. 
The  right  hand  is  raised  with  an  argumentative  gesture ;  the  left 
hand  doubtless  held  a  bronze  caduceus  or  herald's  wand,  the 
most  constant  attribute  of  Hermes.  The  tortoise  was  associated 
with  the  same  god. 

In  the  pose  of  this  figure,  and  in  the  position  of  the  chlamys 
(mantle),  slipping  down  the  left  arm,  the  sculptor  followed  closely 
a  Greek  statue  of  Hermes  dating  from  about  the  middle  of  the 
fifth  century  b.  c.  This  statue  is  not  preserved  to  us  in  the 
original,  but  is  known  through  copies  of  Roman  date,  especially 
one  in  the  Boncompagni  Museum  in  Rome.  The  drapery  of 
Cleomenes'  figure  is  modernized  in  character,  and  the  head  bears 
no  resemblance  to  the  ideal  head  of  the  Greek  model,  being  a 
realistic  Roman  portrait. 

This  is  among  the  most  interesting  and  beautiful  of  ancient 
portrait  statues.  Had  it  no  other  distinction,  it  would  be  noted 
for  its  extraordinarily  perfect  preservation. 


AUGUSTUS  FROM  PRIMA  PORTA. 
98 


ROMAN  SCULPTURE. 


99 


Augustus  from  Prima  Porta. 

CIRCA  1 5  B.  C. 

Rome,  Vatican.  Marble.  Found  in  1863  at  Prima  Porta,  nine  miles  to  the  north  of 
Rome,  on  the  site  of  a  villa  of  Livia.  Restorations :  right  ear,  thumb,  first,  second, 
and  fourth  fingers  of  right  hand,  first  finger  of  left  hand,  scepter. 

This  unusually  well-preserved  statue  represents  the  Emperor 
Augustus  in  the  act  of  delivering  an  address  to  his  troops.  Over 
his  tunic  he  wears  a  cuirass,  to  be  understood  as  of  metal,  and 
his  mantle  (pallium)  is  loosely  wound  about  him.  The  exquisitely 
wrought  reliefs  on  the  cuirass  refer  to  conditions  and  events  of 
Augustus'  reign.  The  attitude  of  the  figure  is  at  once  easy  and 
dignified,  and  the  head  is  a  noble  specimen  of  portraiture.  The 
dolphin  and  Cupid  by  the  right  leg  are  attributes  of  Venus,  and 
are  introduced  because  Venus  was  the  mythical  ancestress  of  the 
Julian  gens,  to  which  Augustus  by  adoption  belonged. 


100 


101 


PRICES  AND  ORDERING. 


Our  Carbons  are  published  particularly  for  the  colleges  and  prepara- 
tory schools,  where  pictures  of  a  large  size  are  especially  desirable. 
For  the  general  public,  however,  we  have  made  the  entire  series  in  a 
smaller  size,  better  suited  to  private  houses. 

If  the  purchaser  so  desires,  the  pictures  will  be  framed  by  us.  The 
frame  we  always  use  is  of  dark  quartered  oak,  with  a  dull  finish,  very 
well  suited  to  these  Carbons;  four-inch  moulding  is  used  for  the  large 
and  three-inch  for  the  small  pictures. 

The  prices  are  as  follows  :  — 

CARBONS.  Size  A  (Large).       Size  B  (Small). 

*  Each  subject,  unframed  .    .    .    $10.00  $S-C0 

The  size  of  work  varies  with  each  subject,  but  averages  20  x  32  for 
size  A,  and  17  x  23  for  size  B. 

Size  A  is  mounted  on  special  granite  board  30  x  44  inches;  size  B  on 
special  granite  board  27^  x  34  inches. 

FRAMES.  Size  A  (Large).  Size  B  (Small). 
t  For  each  $7.50  extra.  $4.00  extra. 

The  frames  quoted  above  are  sufficiently  large  to  allow  a  proper 
margin  around  the  work.  We  should  be  pleased  to  quote  special 
prices  when  framed  close  to  work. 

We  can  make  no  reduction  from  these  prices  except  on  large  orders. 
We  pay  transportation  charges  on  unframed  pictures  only,  except  when 
sold  to  the  trade. 

On  account  of  the  weight  of  glass,  and  packing  case,  it  is  advisable 
to  send  framed  pictures  to  any  considerable  distance  by  freight.  Un- 
less special  shipping  directions  to  the  contrary  are  given  by  the 
purchaser,  we  will  forward  framed  pictures  in  this  way. 

We  cannot  open  accounts,  except  with  individuals  or  firms  in  busi- 
ness.   Send  the  full  amount  with  your  order. 

*  Two  Metopes,  see  pages  58  and  60,  are  #7.50  in  size  A. 

t  Frames  for  two  Metopes  are  $6.00  each,  size  A;  $5.00  each,  size  B. 


ADDRESS 


146  Oliver  Street,  Boston,  Mass.,  U.  S.  A. 


102 


NORMANDY  COW.  — Van  Marcke. 

Nine  Important  Carbons 

Of  the  French  (Barbuon)  School 

From  the  WM.  H.  STEWART  COLLECTION. 

COROT  Sunset. 

VlLLE  D'AVRAY. 
DAUBIGNY  AUVERS  ON  THE  OlSE. 

VAN    MARCKE       A  Normandy  Cow. 

Valley  of  the  Toucques. 

TROYON        Cows  in  the  Valley,  Toucques. 

Cow  Among  the  Cabbages. 

Chickens  Feeding. 

The  Lane. 

These  carbons  published  in  our  B  size,  about  17 x  23  inches  work;  on 
special  mounts  27^  x  34  inches.    $5*00  each. 

Three  Great  Modern  Spanish  Painters. 

Photogravures  from  originals  by  Fortuny,  Zamacois  and  Madrazo, 
to  be  published  August  1st,  1899. 

fortuny 

The  Gate  of  Justice,  Alhambra.    Size  of  work,  15%  x  19  inches. 
The  Alberca  Court,  Alhambra.  Sizeof  work,  18^  x 26 inches 

They  convey  the  atmosphere  of  the  old  Moorish  palace  as  well  as  its 
wondrous  detail  of  ornament. 

ZAMACOIS         CHECKMATED.     Size  of  work,  15  x  19  inches. 

A  most  interesting-  genre  picture.  The  dwarf  has  just  defeated  the 
jester  at  the  game  of  chess,  and  his  delight  as  well  as  that  of  his  companion 
(the  third  figure  in  the  picture)  is  admirably  portrayed. 

MADRAZO       The  Departure  from  the  Masked  Ball. 

Size  of  work,  l^1/^  x  25%  inches. 
At  early  dawn  the  guests  are  departing  through  the  courtyard  of  a 
Paris  mansion.    The  composition  as  a  whole  and  the  minute  study  of  cos- 
tume  and  character  make  this  picture  a  most  notable  contribution  in  a 
field  in  which  Madrazo  excels. 

The  height  of  each  plate  is  given  first  in  giving  the  dimensions. 
Remarque  proofs,  limited  to  100  from  each  plate,  $J0*00  each. 
India  prints     ........       5.00  " 

103 


EGYPTIAN  ART. 


PYRAMIDS,  AND  THE  TEMPLE  OF  THE  SPHINX. 

Preparing  under  the  supervision  of  George  A.  Reisner,  Ph.  D.  (Har- 
vard), formerly  instructor  in  Egyptology  at  Harvard  University,  now  a 
member  of  the  International  Commission  for  the  Gizeh  Museum, 
Cairo,  Egypt. 

During  the  winter  our  photographer  has  been  in  Egypt  taking  views 
for  a  new  series  of  about  fifty  large  carbon  prints  which  will  illustrate 
the  development  of  Egyptian  Art. 

This  series  will  be  published  during  the  fall  of  1899,  in  the  same  man- 
ner as  we  published  the  Rise  and  Progress  of  Greek  and  Roman  Art. 

Dr.  Reisner  will  edit  an  illustrated  catalogue  of  the  series,  with  full 
descriptions  of  each  subject,  and  an  essay  on  the  general  theme  of 
Egyptian  Art. 

The  list  will  include  subjects  that  will  make  it  a  complete  history  of 
Egyptian  Art,  so  that,  in  connection  with  our  catalogue,  the  subject 
may  be  studied  with  all  the  advantages  of  a  museum  and  a  text-book 
before  the  scholar. 

The  work  will  treat  of  the  Old,  Middle,  and  New  Empires,  and  the 
Greek  Period,  and  among  the  subjects  will  be  the  following:  — 

Statue  of  Ramses  II.,  Sheik  el-Beled,  Colossi  of  Ramses  II., 
Temple  at  Karnak,  Inside  View  of  Hall  of  Pillars  at  Esneh, 
Island  of  Philae  and  Temple. 

The  Carbon  Prints  will  be  similar  in  size  and  price  to  those  in  the 
Series  of  Greek  and  Roman  Art,  namely,  Size  A,  about  20  x  34  inches, 
at  $10  each,  and  Size  B,  about  17x23,  at  $5  each. 

For  further  information  address  the  publishers, 

A.  W.  ELSON  &  CO., 

146  Oliver  Street,  Boston. 

104 


SHAKESPEARE  SERIES. 


STRATFORD  FROM  THE  THEATRE. 

'"THE  following  views  in  the  town  of  the  Avon  bard  have  been  pub- 
lished.    They  are  all  exceedingly  interesting  from  their  artistic 

merits,  and,  coupled  with  the  association  with  Shakespeare,  they  attain 

a  value  that  should  place  them  in  every  school  and  household. 

Bust  of  Shakespeare  in  Chancel  of  Trinity  Church,  showing  the 
stone  of  his  grave  beneath.  This  was  executed  in  1623,  and  is 
the  only  authenticated  likeness  of  Shakespeare  except  the 
print  in  the  first  folio  edition. 

House  where  Shakespeare  was  born. 

Room  in  which  Shakespeare  was  born. 

Anne  Hathaway's  Cottage. 

View  of  Stratford  from  the  Memorial  Theatre. 
View  of  Memorial  Theatre  from  Clopton  Bridge. 

Size  A,  about  20  x  34  inches  work,  mounted  on  special  granite  board, 
30  x  44.    Price,  $10  each. 

Size  B,  about  17  x  23  inches  work,  mounted  on  board  27^  x  34, 
Price,  $5  each. 

PUBLISHED  BY 

A.  W.  ELSON  &  CO.,  146  Oliver  Street,  Boston. 


THE  MAKERS     *    ★  ★ 
★    ★     OF  OUR  NATION 


A  series  of  thirty  American  portraits,  chiefly  photogravures,  size  of 
work  about  i6x  20  inches. 

The  subjects  are  especially  appropriate  for  schools  and  libraries. 
Those  already  published  are  Washington,  Martha  Washington,  Lincoln, 
Hamilton,  Jay,  Samuel  Adams,  Franklin,  Jefferson,  Madison,  Marshall, 
Motley,  Prescott,  Holmes,  Longfellow,  and  General  Grant  (just  pub- 
lished).   Also  the  frigate  Constitution. 

Prints  unframed,  $5.00  each. 
Write  for  illustrated  catalogue  free,  and  for  the  selected  list  of  engrav- 
ings suitable  for  schools,  from  originals  by  SirEdwin  Landseer  and  others. 
To  be  published  in  April :  — 

The  Surrender  of  Cornwallis  at  Yorktown. 
The  Surrender  of  Burgoyne  at  Saratoga. 
Photogravures  from  Trumbull's  paintings  in  the  Yale  Art  Gallery. 
Size  of  work  about  18  x  27  inches 

Prints  unframed,  $7.50. 

A.  W.  ELSON  &  CO.,  146  Oliver  St.,  Boston. 

Just  published. 

Carbons  of  James  Otis,  General  Warren,  and  Lafayette. 
From  originals  by  Blackburn,  Copley  and  Houdon. 


GETTY  RESEARCH  |||jj||jE 


